
PUBLISHED BY 

CKe AMERICAN COLLEGE OF DRESSMAKING 

KANSAS CITY, U S. A. 




Class _^__ 
Book.___ 



COPYRIGHT DEPOSIT. 



The AMERICAN SYSTEM 
OF DRESSMAKING 



BY 



MISS PEARL MERWIN 



Sup 



ervisor 



AMERICAN COLLEGE 
of DRESSMAKING 




PUBLISHED BY 

The American College of Dressmaking 

ASSOCIATED TRAINING SCHOOLS, Prop. 

KANSAS CITY, MO., U. S. A. 



c. 






Copyndghted igo6, igoy, igoS and igog 

by J. M. Stelle 

Copyrighted igio by Associated Training Schools 



All ri (Tilts reserved. 



Printed in the United States 



€C!,A^65M81 



PREFACE 



The Science of Dressmaking and Ladies' Tailoring 
embraces a vast scope of knowledge, much of which be- 
cause of the very nature of the relation which they sustain 
to the home and society, becomes, in a general way, the 
common property of all women. Beginning with the sim- 
plest forms, and gradually developing chapter by chapter, 
the more complicated phases of the profession, the author 
has studiously striven to classify and crystallize this gen- 
eral knowledge into a tangible working system. The suc- 
cess of her effort will depend largely upon the student's 
attitude toward the study and her desire to become profi- 
cient in the application of the principles outlined. 

This volume is intended to be at once a complete and 
comprehensive text book for the beginner, a handy guide 
for the seamstress in the home, and a ready reference for 
the graduate and professional dressmaker. 

The large printed drafts and tailor's square which 
accompany the lessons are essential to an intelligent appli- 
cation of the American System. 



CONTENTS 



CHAPTER I. 
Introduction ; hints ; rules ; taking measurements ; de- 
scription of the square and its use; order of taking meas- 
urements, neck, bust, waist, front, back, chest, width of 
back, under arm, armhole and shoulder; drafting front of 
waist. 

CHAPTER U. 

Drafting back of waist; determining length of back, 
width of side-bodies, width of center back ; finding position 
of back bust line; extension of lines below waist line; posi- 
tion of waist line when the under arm measure is short 
compared with the back measure; position of waist line 
when the under arm measure is long compared with the 
back measure; neck rules, different sizes, etc.; dart rules. 

CHAPTER in. 
Testing measurements in front and back; tracing the 
linings, fronts, center back and side bodies ; allowing width 
of seams in cutting the lining portions ; method of cutting 
a pattern from the draft; irregularities in waist drafting, 
persons more developed on one side than the other, persons 
with enlarged necks, persons with round shoulders, persons 
hollow between the shoulder blades, fleshy forms, etc.; the 
French lining. 

CHAPTER IV. 
Sleeve measurements ; order of taking, length of sleeve, 
length of sleeve from shoulder to elbow, inside measure 
from armhole to wrist, armhole measure, elbow measure, 



hand measure; drafting a sleeve pattern; tracing and cut- 
ting the sleeve; shirt waist sleeve; Leg O'Mutton sleeve; 
Bishop sleeve; Mousquetaire sleeve; elbow sleeve. 

CHAPTER V. 

Basting lining of waist; seams to baste first; shoul- 
der seam, under arm, darts; basting the sleeve lining, how 
to pin before basting, how to correct errors in basting; 
fitting the waist lining, how to have person stand, how to 
pin, numerous points to observe; fitting the sleeve lining, 
how to pin into the armhole, points to observe, how to 
remove lining and make changes; stitching lining and fin- 
ishing seams in the waist; arranging for hooks and eyes 
on waist; boning the waist; second fitting of waist; pad- 
ding the waist; draping waist on the lining; fitting a lining 
over a form ; to prepare a form for one's own use. 

CHAPTER VI. 
Sewing stitches, basting, running, back-stitch, over- 
casting, overhanding, hemming, cat-stitching, feather- 
stitching, hemstitching; French seam, fell seam, French 
hem, French knots, buttonholes of different kinds, eyelets, 
loops, sewing on buttons, button moulds; draping a waist, 
the yoke, the part below the yoke; evening waists; plain 
tight-fitting waists; basting material on lining; pressing 
seams and different fabrics ; basting of different fabrics. 

CHAPTER VH. 

Points to take into consideration in boning; the vari- 
ous forms of featherbone; to bone dart or seams going to 
the shoulder, boning under arm seams, finishing the bones, 
hook and eye bone, three-cord tape for coats, collarbone ; 
girdles; drafting a waist pattern with one dart in front, 
under arm portion and two back pieces; drafting a waist 
pattern with two darts and two back pieces; how to fit 
irregular or disproportionate figures; short -waisted, long- 
waisted, round-shouldered, over-erect, very prominent or 
very small bust; altering for the high or low bust person, 
square and sloping shoulders, etc. 

CHAPTER vni. 
Shirt waist, preparing the pattern, how to lay it on 
the material, how to mark for tucks and to put them in 



correctly; fitting shirt waists, points to observe and how 
to correct errors, fitting the sleeve, marking and making 
changes, seams to stitch after first fitting; gathering the 
fullness at waist line in back of waist, gathering the front 
fullness into a band, adjusting the neck band; finishing the 
sleeve, the opening, cuff, etc.; drafting a stock collar; 
Bertha collars; Sailor and Buster Brown collars; cuffs, 
drafting a circular, cuff for the Bishop sleeve, for wash 
waists, lapped; Sailor blouses; the Gibson waist. 

CHAPTER IX. 

Skirt measurements; waist; around the hips; length 
of dart; length of front; length on side; length of back; 
use of square in skirt drafting; relative proportions of 
gores; drafting top part of skirt; testing hip line; con- 
structing the waist line; testing waist line; drawing dart 
lines ; inverted plait ; extension of gores below the hip line. 

CHAPTER X. 
Cutting the skirt; notching the gores; basting the 
skirt; fitting the skirt; stitching; finishing the bottom; 
applying velveteen ; putting on braid ; lined skirts ; walking 
skirts, finishing the bottom, pressing, 

CHAPTER XL 

Drafting five-gore skirt; drafting nine-gore skirt, add- 
ing flare to nine-gore; drafting fifteen-gore, adding flare to 
fifteen-gore skirt; adding flare to five-gore skirt; adding 
fullness to skirts by plaits or tucks at the seams; adding 
flare to seven-gore; general instructions for adding flare 
to skirts. ' - *! 

CHAPTER xn. 

Side-plaited skirts, drafting those with an equal space 
between the plaits and those with few seams, how to cut 
gores when plaits are to turn toward the front, how to 
cut when plaits are to turn toward the back, stitching and 
finishing plaited skirts ; skirts with plaits placed in at knee 
depth ; skirts with two, three or more plaits between the 
plain gores; gored skirts with a wide or inverted box-plait 
let into the seams some distance from the bottom, how to 
support the plaits; shirred skirts; skirts with flounces, 
drafting, cutting and applying a graduated circular 



flounce; plaited, shirred, gathered and tucked flounces and 
how to apply; skirts of uneven number of gores; skirts of 
even number of gores ; skirts of even number of gores with 
a seam in center front ; skirts of an even number of gores 
measuring more than three inches at hip line without a 
seam in center front and those whose gores measure less 
than three inches, how to proportion the gores. 

CHAPTER XIII. 

How to finish a drop or foundation skirt, cutting and 
applying foot ruffle and graduated flounce, making and 
applying accordion-plaited flounce ; garments for maternity 
wear, underwear, shixt-waists, blouse, waist with fitted 
lining, surplice waist, suitable plaited skirt, — how to ad- 
just the plaits and finish skirt at top; Empire skirt; circu- 
lar skirts, two-piece with seam in center front, one-piece, 
three-piece, two methods of cutting; finishing plackets; 
tucks at bottom of skirt, obtaining exact skirt length, put- 
ting in hem, measuring for tucks and stitching; Tunic or 
overskirt, one-piece circular, two-piece with seam in front, 
how to trim to make the seaming invisible. 

CHAPTER XIV. 

Single box-plaited skirts; skirts with single box-plaits 
set in at the seams both full length and at a graduated 
distance from the bottom, how to cut, baste and finish ; 
double box-plaited skirts; triple box-plaited skirts; irregu- 
larities in skirt drafting, points to be observed in taking 
measurements, how to proportion the darts in the diff"erent 
forms, importance of proper underwear and correct pose, 
drafting for those with round abdomen, prominent hips, 
prominent abdomen, etc; variances to the general rule of 
skirt cutting, cutting skirts from striped and plaid mate- 
rial; stitching seams as a trimming, single stitched, double 
stitched, broad seam stitched, welt seam, double stitched 
welt, open welt, tucked seam, bound open welt, slot seam 
double and single stitched, strap seam, imitation strap, 
raw-edge lapped seam, cord seam. 

CHAPTER XV. 

Tailor-made suits, points to be carefully observed, 
methods of shrinking cloth, shrinking colored fabrics to 



prevent spotting or fading; drafting a close-fitting coat, 
single-breastted, double-breasted, drafting the rolled turn- 
over collar with lapels; the lined coat; how to lay the pat- 
tern on the material ; cutting the interlining for the fronts 
and side-fronts ; basting the canvas on the material ; mak- 
ing and applying hair cloth pad to fronts; basting the 
canvas to the collar, stitching the standing part, padding 
and applying to coat; taping the coat; cutting and apply- 
ing the collar and front facings ; how to cut and apply a 
velvet collar facing; interlinings for warmth; padding the 
shoulders and around the armhole; making and putting in 
the sleeves; lining the coat, how to cut and baste the por- 
tions to the coat preparatory to felling; how to cut inter- 
lining for sleeve; making and putting in the sleeve lining, 

CHAPTER XVI. 

The unlined coat, how to cut the interlining and what 
kind to use in coats made of the different materials, stitch- 
ing and finishing the seams, cutting and applying the col- 
lar and front facings, making, putting in the sleeves and 
finishing the armhole, buttons and simulated buttonholes 
used as trimming, putting weights in bottom of coats of 
light-weight material; coat pockets; the Peplum; drafting 
a tailor's cushion; making fancy coat collars; an evening 
coat, suitable material, cutting and applying the interlining, 
basting, fitting, taping and stitching the coat, cutting and 
putting in the lining; drafting an evening cape, one, two 
and four-piece, suitable materials, trimming, etc., basting, 
fitting and stitching, preparing the openings for the arms; 
lining. 

CHAPTER XVII. 

Russian blouse coat, drafting a pattern for the upper 
part, with and without a dart in front, also, how to draft 
a tight-fitted upper portion with two darts in front ; draft- 
ing the skirt portion of coat and fitted belt; how to draft 
with a V-shaped neck ; cutting the portions of coat ; cutting 
the interlining, fitting, making and finishing the coat ; draft- 
ing a tight-fitting princess, tracing and cutting the dif- 
ferent sections, how to cut and make the lining when used, 
finishing the bottom of princess; how to cut the sections 
for a high-waist line princess; panel front princess with 



plaited lower skirt portion ; semi-fitting princess with long- 
waist effect, panel front and flounce; constructing, trim- 
ming and finishing ; wrappers, to make a pattern, etc. ; 
dressing sacques; matching figures and plaids. 

CHAPTER XVIII. 

Infants' first outfit, drafting front, back and sleeve; 
petticoat, coat; little girls' dresses, taking measurements 
and drafting pattern, suitable materials, Bishop dress, 
French dress, Buster Brown dress, suspender dress or bre- 
telle skirt, blouse dress, yoke apron, suspender apron, 
kimono, one-piece apron; rompers, little girls' Russian 
dress, Russian coat, surplice effect dress, making the shield 
and collar, yoke dresses, panel or princess effect dress; 
boys' pants, taking measurements, drafting front and back 
of pants, pockets — side and back, fastening, -finishing; 
boy's Russian suit, knickerbockers and coat or jacket; 
Norfolk jacket. 

CHAPTER XIX. 

Muslin underwear, drafting umbrella drawers, tucking, 
applying insertion, gathered ruffle of embroidery, etc. ; 
making a band; drafting circular drawers; underskirts, 
drafting yoke, finishing of tucks, insertion, ruffles of lace 
and embroidery, etc. ; night gowns ; chemise ; corset covers, 
tight-fitting, embroidery, seamless; embroidery bust sup- 
porter or brassiere; combination suit seamed together at 
waist line; combining under garments; combination suit 
with top and lower portions in one piece; one-piece chil- 
dren's drawers. 

CHAPTER XX. 

Selection of material ; how a tall woman should dress ; 
how a stout woman should dress; points to be considered 
in designing a garment; what a blonde should wear; what 
a brunette should wear; choosing colors that are harmoni- 
ous, blending and combining; the touch of black in trim- 
ming; origin of style, where styles come from, where de- 
signers get their ideas, comparison of past and present 
styles; copying from fashion plates; the study of styles; 
bias bands and folds ; making and applying ; circular yoke ; 
girdles; cording; shirrings; tucked shirring; French shir- 
ring or gathers; ruchings, pinking; mode of applying 
shirred trimming; single side plaits; single box-plaits; 



double box-plaits; applying fur trimming; crow foot; tail- 
or's tacks or mark stitching; skirts of bordered material; 
illustrations showing points in designing. 

CHAPTER XXI. 

Fitting up a dressmaking shop ; location, room, space, 
reception room, sewing room and fitting room, furnishings ; 
how to construct a form for one's own use; household 
recipes. 

CHAPTER XXn. 

Helpful hints; methods of increasing trade; how to 
advertise your services, sample advertisements. 



CHAPTER I. 



Introduction; Hints; Rules; Taking Measurements; Description of 
the square and its use; Order of taking Measurements, neck, 
bust, waist, front, back, chest, width of back, under arm, arm- 
hole and shoulder; Drafting Front of Waist. 



INTRODUCTION. 

For a great many years much has been known of mak- 
ing beautiful tapestries, embroideries and needlework, but 
the great problem of putting the art of plain sewing on 
a scientific basis and making it a part of woman's edu- 
cation is just now being solved. To meet the growing de- 
mand for more practical methods and to supply the long- 
felt want that has been but sparingly met by the use of 
patterns, the American College of Dressmaking has spared 
neither time nor expense in the preparation of these les- 
sons. 

Since in any work a thorough understanding of the 
rudiments is essential, so in sewing the first step is to 
implant those elements and principles which are the foun- 
dation of all needlework, and each part should ba so thor- 
oughly mastered that the next becomes easy. Thus we 
have arranged a course of twenty lessons so systematic- 
ally that each succeeding lesson is a natural stepping stone 
to what follows. 



study these lessons carefully and diligently, as much 
depends upon the aptness, energy and spirit with which 
you enter into the work. You cannot become a successful 
dressmaker unless you manifest every interest in the study 
and put forth every effort to carry the work through from 
start to finish without dragging. 

Nor do we want you to rush through with the course 
with a view to finishing in the shortest possible time, but 
rather to study each lesson until you are thoroughly fa- 
miliar with every part of it before taking up another. If 
at any time there are any points that you do not perfectly 
understand to your own satisfaction, write and ask us 
on the special blank furnished for that purpose, and infor- 
mation will be cheerfully and promptly given. 

If at all possible, arrange your work so that a cer- 
tain time, say an hour or two, more or less, each day, may 
be set aside for this special study. Permit no other task 
or duty to take its place. If possible it is well to have 
a little room that you can call your study and sewing room, 
where you can withdraw from other duties and apply all 
your energies to the work in hand. You will find it very 
convenient. Provide yourself with a good tape, yard stick, 
tracing wheel, a sharp pair of scissors and a good pencil. 

HOW TO PROCEED. 

First — Study the lesson carefully, comparing instruc- 
tions and accompanying drafts. (You will observe that 
the instructions tell how the large draft is made.) 

Second— With the lesson and draft before you for 
reference and comparison, take a sheet of wrapping paper 
and draft a pattern exactly like the large printed one. 

Third — Draft ten other patterns, using different meas- 
ures each time. (This is not required, but we strongly 
recommend it.) One of the main secrets of the success of 
our graduates is that they knoiv the system, because they 
learned it well by much practice. 

Fourth — Write the answers to the questions and send 
them to us to be graded. 

16 



TAKING MEASUREMENTS. 
Just a word of caution about taking measurements 
before entering upon the lesson proper. Strange as it 
may seem, there is nothing more important in dressmak- 
ing than the taking of correct measurements. It matters 
not how nicely you have drafted the pattern or how care- 
fully you have put the different parts together, you can- 
not turn out a satisfactory piece of work unless the meas- 
uring was accurately done. This requires practice — much 
practice. Practice as much as possible until you have 
become perfectly familiar with every detail. 

Observe very closely the form of the person whose 
measures you are taking. This is very essential, as dif- 
ferent forms have different characteristics of contour. Two 
persons may have the same measurements exactly, yet 
their forms be so different that a pattern that will fit one 
may not fit the other at all. For instance, two persons 
may each have 38 bust measure; one of them may have a 
full, rounded bust and a narrow back, while the other may 
be flat in front with large protruding shoulder blades and 
a deep hollow in the back, where the measure is taken up. 

For practice it is well to take the measures of as many 
different persons as possible. Before beginning to take 
measures, tie a cord tightly around the waist at waist 
line and take the measure to the bottom of this cord. Pay 
no attention to the seams in the waist of the person whose 
measures you are taking. They may or may not be correct. 
Always take the measures in the order given below, and 
write each measure down in same order. For recording 
measures, use the accompanying blank. For practice 
measures you can extend this blank as far as you like, ruling 
blank paper and pasting it on at the bottom. 

17 




:-5 .1 



THE SQUARE. 

We have had many calls from 
our students for a square. A 
regular tailor's square, made 
either of wood or metal, would 
cost the student so much as to 
make its use almost prohibitive 
in the majority of cases; more- 
over, it would be practically im- 
possible to send such a square 
through the mails. We have, 
therefore, had one made from 
the best pressboard obtainable, 
which . will, with reasonable 
care, last a lifetime. A yard- 
stick can be had for the asking 
at most any general store. It 
is practically impossible to send 
one by mail. Be sure you get 
a good straight one. 

Face of Square — On this side 

of the squr.rG will be found indi- 
cated the inches, half inches, 
quarter inches and eighth inches. 
The half inches occur on both 




ends. This is called the "scale of halves." The eighths 
are indicated along both sides of the square but are not 
numbered on this side. Now turn the square over. 

Reverse of Square— On the reverse side of the 



square the fourths, eighths, thirds and sixths of inches 
are indicated and numbered ; the fourths and eighths are 
on the short end, and the thirds and sixths are on the 
long end of the square. These are called respectively the 
"scale of fourths," "scale of eighths," "scale of thirds" 
and "scale of sixths." Inches are also numbered on both 
ends of this side of the square. Sixteenths are indicated 
on the short end, but not numbered. On the inside of the 
long end and on reverse of the square occur the curves 
"A," "B" and "C," while on the face they are simply 
named A, B and C, which are used for the various curves 
in all the drafting. 

Always measure from the corner of the square. 

The Use of the Square — The use of the square saves 
calculations. For instance, one will find the different 
scales on the square a great time saver and convenience in 
dividing space accurately. Thus to divide a 15-inch space 
into four equal parts, divide by placing the short end of 
the square upon which the scale of fourths is marked (re- 
verse) on a line with the space to be divided and mark off 
at 15 on the scale of fourths, which will make each division 
3% inches, as by measuring from corner of square to this 
mark you will find it 3% on the scale of inches. If the 
15-inch space is to be divided into eight equal parts, or 
1% inches, mark on the scale of eighths opposite mark 
representing 15, which is half way between figures 14 and 
16; a glance will show you that 15 on the scale of eighths 
is 1% on the scale of inches. To divide the 15-inch space 
into three equal parts or three parts of 5 inches each, 
mark opposite figure 15 on the scale of thirds, which you 
see is marked 5 on the scale of inches. If you wish the 
same space divided into six equal parts, mark on the scale 
of sixths opposite mark representing 15, or half way 
between 14 and 16, and you will see you have 2V2 on the 

19 



scale of inches. Thus in every case use the scale repre- 
senting the number of parts into which the space is to be 
divided, placing that edge of the square on a line with 
the space to be divided and mark opposite the figure on 
the scale representing the entire number of inches. 



THE WAIST MEASURE. 

The American System uses the following ten measures 
for the waist: 

First, neck; second, bust; third, waist; fourth, front; 
fifth, back; sixth, chest; seventh, width of back; eighth, 
under arm; ninth, armhole; tenth, shoulder. 

1. Neck measure: This measure is taken around 
the neck directly under the chin. (See Line 1, Figs. 1 and 
2.) 

2. Bust measure: This measure is taken around 
and over the fullest part of the bust, having the tape line 
well up under the arms, and bringing it to the center of 
the back. This may be taken as tight as desired. (See 
Line 2, Figs. 1 and 2.) It is well to stand directly behind 
the person in taking this measure. 

3. Waist measure: Pass the tape around the waist 
line, drawing it very snug and tight. (See Line 3, Figs. 
1 and 2.) 

4. Front measure: Place the end of the tape line 
on the prominent bone at the back of the neck; pass the 
line over the shoulder near the base of the neck and down 
over the fullest part of the bust to the waist line, drawing 
it snug. This measure is taken from the back of the neck 
to get the length of the front from the shoulder down 
to waist line. It might be taken from the shoulder, but 

20 



as there is no set or determined point from which to take 
the measure on the shoulder, we take- it from the back 
of the neck. (See Line 4, Fig. 1.) 

5. Back measure : Measure from the prominent bone 
at the back of the neck to bottom of waist cord. Allow 
plenty of room, as too short a measure gives a low neck 
in the back. (See Line 5, Fig. 2.) 

6. Chest measure: This measure is taken across the 
chest, from armhole to armhole, midway between the base 
of the neck in front and bust line. (See Line 6, Fig. 1.) 

7. Width of back: This measure is taken across the 
back, from armhole to armhole, about midway between 
base of neck in the back and bust line. (See Line 7, Fig. 2.) 

8. Under arm measure: Place the end of the tape 
line close up under the arm and measure straight down 
to the bottom of waist cord. (See Line 8, Figs. 1 and 2.) 
The arm should be dropped naturally at the side while this 
measure is being taken. 

9. Armhole measure: Pass the tape around under 
the arm and bring it up to the shoulder. This measure 
should be taken very tight, or the draft will be too long 
from bust to shoulder. It drafts out larger than taken. 
It is the tightest measure we take, and should not be 
more than one inch larger than neck measure. (See Line 9, 
Figs. 1 and 2.) 

10. Shoulder measure : Measure from the base of the 
neck at the side, to shoulder point. This measure can be 
taken as long as desired, depending on the prevailing style. 
(See Line 10, Figs. 1 and 2.) 

The draft used in this lesson is made from the follow- 
ing measurements: Neck, 12 inches; bust, 36 inches; 
waist, 24 inches ; front, 20% inches ; back, 15 inches ; chest, 
14 inches; width of back, 14 inches; under arm, 8 inches; 
armhole, 13 inches; shoulder, 51/2 inches. 

21 



DRAFTING FRONT OF WAIST. 



inches from the left edge of the 
inches from the top, and draw a 



Measure in two 
paper and down two 
perpendicular line to 
the bottom of the pa- 
per; this we will call 
Line 1. Measure 
down from the top of 
this line 2 inches and 
make dot A ; also 
measure down on this 
same line one-fourth 
of the neck measure 
and make dot N. 
From the top of Line 
1 draw a horizontal 
line to the right paral- 
lel with the top edge 
of paper; mark this 
Line 2. From the left 
end of Line 2 measure 
to the right 21/2 inches 
and make dot M. 
Dots N and M are the 
ends of the neck 
curve. (Rules for dif- 
ferent neck measures 
are given in Lesson 
2.) From dot M 
measure out on Line 2 

to the Ticyhf fVtP This miniature draft of tlie front of the waist 

^ f is shown here simply for Immediate reference in 

length of the shoulder study, it is reduced to one-fifth actual size. In 

, drafting always refer to the large draft accom- 

measure, and make a panying this lesson. 
dot ; then drop or 

lower this dot V/2 inches and mark it S, for shoulder 
point. (This is called the shoulder drop, and usually aver- 
ages about V/2 inches. However, if the person for whom 




22 



you are drafting has very sloping shoulders, the drop will 
be 2 inches; but if the shoulders are high and square, 1 
inch will be sufficient. The form must be observed when 
taking the measures.) 

Draw a line from dot M to dot S and mark this Line 
3 — the shoulder line. From dot A measure down on Line 
1 one-half the armhole measure and make dot B. From 
dot B measure out to the right one-fourth of the bust 
measure on the scale of fourths and make dot C; then 
measure out one inch further and make dot D. Draw a 
line from dot B to dot D through dot C. This is the bust 
line. Mark it Line 4. 

(The draft we use for this lesson is for one-half the 
front, and, as the front should be a little wider than the 
back, we add an additional inch to one-fourth of the bust 
measure. By using just one-fourth of the bust measure 
the line would come directly under the arm, but by adding 
the one inch it comes a little past.) 

From dot D measure straight down the length of the 
under arm measure and make dot E. Then draw Line 5 
from dot D to E. Make a dot 21/2 inches below E and 
measure out to the right of this dot 1 inch and make 
another dot and then continue Line 5 so as to touch this 
last dot. This is to give width over the hips. 

Now measure down 414 inches from dot B on Line 
1 and make dot F; also measure down 2^4 inches from 
dot D on Line 5 and make dot G. Draw Line 6 from dot 
F to dot G. This is the dart line. From dot M draw Line 
7 straight down — parallel with Line 1 — ^21/2 inches shorter 
than the front measure. This is the front measure or 
front line. (See draft.) 

(You will remember that we took the front measure 
from the prominent bone at the back of the neck across 
the shoulder at the base of the neck and down in front to 

23 



waist line. Now this 21/2 inches 
we take off when drawing Line 
7 is the width of the neck from 
the prominent bone around to 
the shoulder, and since we are 
only drafting from the shoulder, 
Line 7 should be 21/2 inches 
shorter than the original front 
measure. Take off 21/2 inches 
when the neck measure is from 
12 to 15 inches; when it is be- 
low 12 inches take off 2 inches; 
when above 15 inches take off 
3 inches.) 

Now draw Line 8 from dot 
E to the end of Line 7 and on 
to Line 1. This is the waist line. 
(Line 8 in different measures 
will come in different positions. 
Sometimes when the front meas- 
ure is quite short it slants up. 
When this occurs, if the darts 
above the waist line appear too 
short, move Line 6 a little 

size. 

nearer Line 4, using your own 
judgment as to how far to move it.) 

The top of the first dart is determined by the point 
where Line 7 crosses Line 6. Make dot H on Line 6 2V2 
inches to the right of the junction of Lines 6 and 7 ; this is 
the top of second or back dart. The first or front dart is 
nearly always one and one-half inches wide. To get the 
width of back dart, find the difference between the bust 
and waist measures and use one-fourth of the difference 
for the width. Rules regarding darts will be given in the 
following lesson. 

Make a dot on Line 8 each side of Line 7 one-half 
of first or front dart's width, and draw lines from these 
dots to junction of Lines 6 and 7, placing A curve on 
square on the dots and letting long end of square touch 
the junction, and mark these Lines 9 and 10, respectively. 

24 




'iiusj iniiiiatiire dral't of the back 
of the waist is shown here simply 
for immediate reference in study. 
It is reduced to one-fifth actual 



After drawing Line 9 the square must be reversed or 
turned over to draw Line 10, but always place A curve or 
A on the dot. Make a dot on Line 8 three-fourths of an 
inch to the right of the back edge of the front dart; 
now measure out to the right of this dot on Line 8 one- 
fourth of the difference between bust and waist measures 
and make another dot, and draw lines from these last two 
dots to dot H; mark these Lines 11 and 12, respectively. 
Finish darts below the waist line on same reverse slant by 
measuring down below the waist line the same distance 
that the top of the darts are above the waist line; that is, 
make the center line of each dart the same length below 
the waist line as above, then draw the other lines. (See 
draft.) The darts below the waist line are made here 
to give the idea of how they should appear in the tight- 
fitting dresses, such as the Princess, and sometimes wrap- 
pers. They are not used in waists. 

Now find the midway point between dots B and N and 
make dot L From dot I measure out to the right one-half 
of the chest measure and make dot J. Now draw a line 
from S to J and curve on down to C; or, with the aid of 
the square, draw the armhole, placing dots S, J and C 
on square, respectively, on same dots on draft, allowing 
the curve to come to a point about ona-fourth inch above 
dot D. Connect this point with dot D. Also use the square 
for drawing the neck curve. If a swell front is desired, 
place C on square on dot N on draft and let the waist 
line on square meet the waist line on draft and draw Line 
13. (See draft.) This line is used chiefly in tight-fitting 
garments, coats, etc., to give full round effect over bust. 

This completes your first lesson. If there are any 
points therein not entirely clear to you, frankly write and 
tell us what they are. We guarantee to satisfy you in every 
particular, and want you to feel perfectly free to ask us 
questions at any and all times. 

We strongly urge that you draft at least ten patterns 
from that many different sets of measures; that is, of ten 
of your friends. You will be surprised at the rapidity of 
your improvement in making the curves as you advance 
on each new pattern. After drafting these ten patterns you 

25 



ought to be able to make the curves with comparative ease. 
Remember the three things of greatest importance in this 
lesson are: (1) Taking measures correctly, (2) practic- 
ing curves, and (3) practice. 

Note — The plain lining is the foundation of all sew- 
ing. Therefore, it is necessary to first learn how to draft 
the tight-fitting lining of a waist, sleeve and skirt. From 
these are developed all the fancy and elaborate designs 
as seen in the fashion magazines. The first few lessons 
then must be on drafting alone. Those following discuss 
in detail all the rudiments and elements pertaining to 
dressmaking. 



26 



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29 



CHAPTER IL 



Drafting Back of Waist; Determining length of back, width of side- 
bodies, width of center back; Finding position of back bust 
line; Extension of lines below waist line; Position of waist line 
when the under arm measure is short compared with the back 
measure; Position of Waist line when the under arm measure 
is long compared with the back measure; Neck Rules, different 
sizes, etc.; Dart Rules. 



NOTE. 

(Proceed as in the first lesson; that is, first study the 
lesson with the draft before you for comparison; second, 
using the same measurements, make a draft exactly like 
the one accompanying the lesson; third, we advise that 
for practice you make at least ten other back drafts from 
that many different sets of measurements. Use the accom- 
panying measure blank in which to record them; fourth, 
answer the questions and send them to us for correction 
and grading.) 

DRAFTING BACK OF WAIST. 
The draft used with this lesson is made from the 
same measurements as given in previous lesson, but for 
your convenience we will repeat them here: 

31 



Neck, 12 inches ; bust, 36 inches ; waist, 24 inclies ; 
front, 20% inches; back, 15 inches; chest, 14 inches; width 
of back, 14 inches; under arm, 8 inches; armhole, 13 
inches; shoulder, 0Y2 inches. 

Measure in 1 inch from the left side of the paper 
and down 1 inch from the top and draw a perpendicular 
line the length of the back measure plus one-fourth of an 
inch ; mark this Line 14. From the top of Line 14 draw 
a horizontal line to the right, parallel with the top edge 
of the paper, the length of one-fourth of the bust measure 
on the scale of fourths minus 1 inch ; mark this Line 15. 

(You remember that in the front draft we used one- 
fourth of the bust measure and added 1 inch to allow the 
under arm seam to come a little past the center under the 
arm, because we wanted the fronts a little wider than 
the back. Since we used one-fourth of the bust measure 
and added 1 inch in front, we will use one-fourth of the 
bust measure minus 1 inch for the back.) This line is the 
same length that the bust line in the back will be. 

From the lower end of Line 14 draw a horizontal line 
to the right the same length as Line 15 and mark it Line 

16. This is the waist line. 

Measure down one-fourth of an inch on Line 14 from 
the top and make dot K; also measure down 2 inches 
from the top of this sam.e line and make dot L. This 
is for the shoulder slant. From the left end of Line 15 
measure to the right 2 inches and make dot O. Dots 
K and O are the ends of the neck curve. Draw a slight 
curve from dot K to dot 0. From dot L draw a line 
to the right parallel with Line 15; mark this Line 17. 
Now place the end of the yardstick at dot and let the 
length of the shoulder measure, plus i/i inch, fall on I^ine 

17, and draw Line 18 — the shoulder line (see draft). This 
Page Four 

32 



1/4 inch is to make 
Line 18 as long as 
Line 3 in front draft, 
which was made a 
little longer than ac- 
tual measure because 
it is drawn slanting. 
Make a dot where 
Lines 17 and 18 meet, 
and mark it dot P. 

Measure up from 
the lower end of Line 
14 the length of the 
under arm measure 
plus one-fourth of an 
inch, and make dot T. 
Measure up the same 
distance from the 
right end of Line 16 
and make dot R. 
Draw a line from dot 
T to R; mark it 19. 
This is the bust line. 

(You remember 
that in drafting the 

front, when drawing '^ shown here slmply for immediate reference in 
J.1 1 , , . . study. It is reduced to one-fifth actual size. 

the armhole we let it 

come to a point one-fourth of an inch above dot D 
and then connected it with the under arm measure, or 
Line 5. This is the reason we add one-fourth of an 
inch to the under arm measure in the back — to make 
it as long as the under arm measure in the front, since 

the two join together.) 

Occasionallj^ when the under arm measure is short 

33 




This miniature draft of the front of the waist 



in comparison with the back measure the right end of 
Line 16 will have to be raised, thus making it a slanting 
instead of a straight one. This is raised in order to give 
the proper curve to the armhole and to make it small 
enough. When the under arm measure is long in com- 
parison with the back measure, then the right end of Line 
16 is lowered, and the under arm is measured from this 
point. This is done to give the armhole sufficient curve 
and to make it large enough. 

Find the midway point between dots T and L and 
make dot U at that point. From dot U measure out to 
the right one-half of the width of back measure and make 
dot V. Now draw a curved line from P to V and on 
down to R, or, with the aid of the square, draw the arm- 
hole, placing dots P and R on square respectively on the 
same dots on drafts. 

Find the width of the back at the waist line and take 
it out of the center of Line 16. To do this measure Line 
8 in the front draft, omitting the darts; that is, measure 
from Line 1 to Line 9, skip the front or first dart and 
measure from Line 10 to Line 11, and then from Line 12 
to Line 5. Substract this from one-half of the waist 
measure, which will leave the width for the back. Take 
this out of Line 16, leaving off the same amount on each 
end. Or, you may use one-fourth of waist measure and 
then place dots W and X so that Line 16 will be that 
length between them. 

The back is divided into three parts — center back, and 
two side bodies. The center back is usually IV2 inches wide 
at the waist line except when the waist measure is quite 
large; then it may be made 2 inches. 

(In the front draft Line 8, omitting the darts, meas- 
ures 51^ in. One-half of the waist measure in this case 
is 12 in., which, minus the 51/2 in. of the front, leaves GV-} 

34 




inches for the width of the back 
at waist line. The length of 
Line 16 in this draft is 8 inches. 
Subtracting 6I/2 inches for the 
width of the back, leaves li/o 
inches to take off of Line 16 — 
34. inch at each end.) 

So make dot W on Line 16 
three-fourths of an inch from 
Line 14 ; also make dot X on 
Line 16 three-fourths of an inch 
from the end. Then draw a 
line from dot K to'dot W ; mark 
it Line 21. This line repre- 
sents the true back measure. 
With the aid of the square draw 
a curved line from dot R to 
dot X, placing C on R, and 
mark this Line 22. This is the 
true under arm measure (see 
draft) . 

Now, mark off the center- 
back, and side bodies on waist 

line, or Line 16. Make the center-back II/2 inches wide; 
so from dot W measure to the right IV2 inches, and make 
dot Y, Then divide the remaining space between dot Y 
and dot X into halves, and make dot Z at the midway 
point (see draft). To get the width of the side bodies in 
the armhole, divide the distance from P to R into thirds, 
and place dots N and M at the division points. 

Find the midway points of Lines 21 and 22 below 
Line 19 and draw Line 20 from one point to the other 
and make dot S at the middle of this line. The side bodies 
must be the same width on this line as on Line 16, so 
measure an equal width to the left and to the right of 

35 



This miniature draft of tlie liack 
of the waist is shown here simply 
for immediate reference in study. 
It is reduced to one-fifth actual 
size. In drafting always refer to 
the large draft accompanying this 
lesson. 



dot S and make a dot on each side and letter them A and 
B. The width between these dots must be the same as the 
width between Y and Z, Find center of Line 19 and make 
dot C, From dot C measure out to the right the same 
distance as between dots A and B and make dot D. Now 
draw Line 23 from Y to A and on through C to N. Also 
draw Line 24 from Z to B and on through D to M. 
Continue Lines 23 and 24 below the waist line about 2 
inches and number them Lines 25 and 26 respectively (see 
draft) . Measure straight down 2 inches from dot W 
and make a dot; measure out Yo inch to the left of this 
dot and draw Line 27 from this point to W. Measure 
1/2 inch to the right of the lower end of Line 25 and 
make a dot and draw Line 28 from this dot to Y. The 
two lines, 27 and 28, outline the center back below the 
waist line. From the lower end of Line 26 make a dot 
1/2 inch to the right and draw Line 29 from this dot to 
Z. The two lines 25 and 29 outline the first side form 
below waist line. Make a dot 2 inches below dot X and 
then measure out 1/2 inch to the right of this dot and 
draw Line 30 from this point to X. Lines 26 and 30 
respectively outline the second side form below waist line. 

NECK RULES. 

The rules and draft given in the first lesson are for a 
12-inch neck measure. In every case use one-fourth of 
the neck measure to get dot N, and always measure down 
on Line 1 the length of that measure for dot N. Now 
dot M in front is for a 12-inch neck measure and is 
placed 21/2 inches from the left end of Line 2. For a 
13-inch neck, place dot M 2% inches from the left end 
of Line 2; for 14-inch neck, place dot M 3 inches from 
the left end of Line 2, thus adding one-fourth of an inch 
for every additional inch of neck measure over 12 inches. 
When the neck measure is more than 15 inches, it is 

36 



better to add one-fourth of an inch to the back by placing 
dot 21/4 inches from the left end of Line 15. 

If the neck measure is 11 inches, or less than the 12- 
inch measure, reduce in the same proportion; that is, for 
an 11-inch measure place dot M just 214 inches from the 
left end of Line 2 ; for a 10-inch measure, place dot M 2 
inches from the left end of Line 2. When the neck 
measure is less than 10 inches, make dot O 1^)4. inches 
from the left end of Line 15. 

DART RULES. 
In forms with a very large bust and waist, place 
the darts just a little over three-fourths of an inch apart 
on the waist line, moving the top of the back dart the 
same distance also. If the darts are placed one-fourth 
of an inch further apart on waist line than given in the 
first lesson, place the top of the back dart one-fourth of an 
inch further out also. 

When there is a very great difference between bust 
and waist, and the back dart is over 3 inches, make the 
front dart enough wider to take up a part of the excess 
over 3 inches. The back dart should not be over 314 
inches wide. 



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38 



CHAPTER III. 



Testing Measurements in Front and Back; Tracing the Linings, fronts, 
center back and side bodies; Allowing width of seams in cutting 
the lining portions; Method of cutting a pattern from the draft; 
Irregularities in Waist Drafting, persons more developed on 
one side than the other, persons with enlarged necks, persons 
with round shoulders, persons hollow between the shoulder 
blades, fleshy forms, etc.; The French Lining. 



TESTING MEASUREMENTS. 

Before proceeding any further with the drafting, it is 
necessary to test the measurements of the front and back 
drafts to see if they correspond with those you have taken. 
Of course, if they were taken correctly and you made the 
right calculations when drafting, you will find them just 
exactly the same when testing them. Test them in the same 
order as they were taken and you will not be so apt to miss 
any of them. 

First test the neck measure. Begin at dot N in the 
front draft and measure the neck curve up to dot M, being 
very careful not to let the tape line slip at any time; then 
measure from dot K to dot in the back draft. Twice this 
measure will give the entire neck measure, as this is only 
one-half of the waist. This measure will test out from one 
to two inches larger than the original neck measure. You 

39 



will remember that this measure was taken around the 
neck directly under the chin. Now as the base of the neck 
is from one to two inches larger than at the top, so the 
drafting must test out more than the measure taken. 

Next test the bust measure by measuring from dot B 
to dot D in front draft ; then measure Line 19 in back draft 
from Line 21 to dot R. This measure should test out very 
nearly correct, if you made the right calculations in finding 
one-fourth of the bust measure. Twice this amount will 
give the entire bust measure. The short distance cut off 
of Line 19 in drawing Line 21 will not interfere with the 
fitting. 

Now test the waist line. Measure Line 8 from Line 1 
to Line 9, skip front dart and measure tha space between 
the two darts, skip the second dart and measure from Line 
12 to Line 5. Then measure Line 16 from dot W to dot X. 
Twice this amount should give the original waist measure. 
Tf the measure tests out too large, take the back dart up a 
little and make Line 16 a little shorter by moving Line 22 
a little nearer Line 24. If it tests out too small, let the back 
dart out a little and make Line 16 a little longer by 
moving Line 22 a little out to the right. 

Test the front measure by measuring Line 7 from dot 
M to Line 8 and then add 21/2 inches for the width of the 
neck from the prominent bone at the back around to the 
shoulder which was subtracted when drafting. 

Measure Line 21 from dot K to Line 16 to see if it cor- 
responds with the original back measure. Also test the un- 
der arm measure in front draft by measuring Line 5 from 
dot D to dot E, and from R to X in back draft. 

Test the shoulder by measuring from dot M to dot S 
in front draft and from dot to dot P in back draft. These 
measures will always test out a little larger than taken. 

TRACING THE LINING. 

Now that you have made the drafts and tested the 
measures and know them to be correct you are ready to 

40 . 




FRONT BACK AND SIDE FORMS 
SHOWING WAIST LINE ON A 
STRAIGHT LINE 

FIG. 3 



41 



trace and cut the lining. This requires a tracing wheel. 
You can trace the front just as it is drafted, but each piece 
of the back must be traced separately if you desire a seamed 
lining. You will need about two yards of lining for a waist. 
Use the lining crossways of the material and it will not 
stretch out. A very safe way is to fold the lining through 
the middle, so that the ends will come together, pinning it 
securely, so that when tracing it will not slip, and both 
fronts will be traced exactly alike. This is very essential, 
for if the fronts are not just alike, the waist is apt to twist. 

Lay the front draft on the lining with Line 1 about I14 
inches from the ends of the lining. Pin the draft to the 
lining in several places. Trace the waist line or Line 8 first. 
Then trace Lines 1 and 5, beginning at the waist line and 
tracing up; also trace the dart lines in the same manner, 
tracing Line 9 first, then Lines 10, 11 and 12 from the 
waist line up. Now trace the neck curve, beginning at dot 
N and trace to dot M ; also trace the arm hole, beginning at 
Line 5 and tracing up to dot S; then trace Line 3 from dot 
S to dot M. This finishes the front tracing. 

Take the draft off and cut out the lining. Leave the 
114 inches on the front line or Line 1 for hems. Allow % 
of an inch for seams on Lines 5 and 3. Cut the arm hole 
and neck curves in the tracing. 

Now place the back draft on the double lining, being 
very careful to have the waist line, or Line 16, on a straight 
thread of goods. Trace the waist line first, then Lines 21 
and 23, always beginning at the waist line and trace up. 
Next trace the neck curve from dot K to dot 0, then the 
armhole from dot N to dot P. Then trace Line 18. Trace 
Lines 27 and 28, about 2 inches below the waist line, 
beginning at Line 16 and tracing down. 

Remove the draft and cut out the center back. First, 
cut Line 21, allowing three-fourths of an inch for a seam. 
Next cut Line 23 and allow one-half inch for a seam; then 

42 



FRONT, BACK AND SIDE FORMS 
IN ORDER OF PLACING TOGETHER 

FIG. 



43 



cut Line 18, allowing three-fourths of an inch for a seam. 
Cut the neck and arm hole in the tracing. 

Now place the draft back on the lining, being sure to 
put the waist line on a straight thread of the goods, and to 
have the lining pinned securely together. Trace off the 
form next to the center back, tracing the waist line first. 
Then trace Lines 23 and 24, remembering to trace up from 
the waist line. Next trace the arm hole from dot M to dot 
N, then trace Lines 25 and 29 about 2 inches below the 
waist line, beginning at the waist line and tracing down. 

Remove the draft and cut the curved Lines 23 and 24, 
allowing one-half inch on each line for seams. Cut the arm 
hole in the tracing. 

Lay the draft back on the lining, putting the waist line 
again on a straight thread of the goods and trace off the 
next side form. 

Trace the waist line first, then Lines 24 and 22, always 
tracing up from Line 16. Next trace the armhole from 
dot R to dot M, then trace Lines 26 and 30 about 2 inches 
below the waist line, tracing down from the waist line. 

Remove the draft and cut out this form. First cut 
Line 24, allowing one-half inch for a seam, then cut Line 
22, allowing three-fourths of an inch for a seam. Cut the 
armhole in the tracing. These divisions have to be cut 
one at a time this way so as to allow for seams on each 
edge. 

If you prefer to cut a paper pattern first from your 
draft before laying draft on the lining, it may be done in 
the following manner : Place the front draft on a piece of 
paper and leave a margin of ll^ inches at Line 1. Trace 
according to instructions as given for tracing the lining. 
Cut the neck and armhole curves in the tracing. Allow 
three-fourths of an inch for seams when cutting Lines 3 
and 5. Cut as far below the waist lines as you wish the 
pattern to be. 

44 



Place the back 
draft also on the pa- 
per just as the in- 
structions on the lin- 
ing direct and trace 
the center back first, 
then remove and cut. 
Then put the draft 
back on the paper and 
trace the form next 
to the center back ; 
remove draft and cut, 
allowing the same 
amount for seams as 
given for the lining. 
Proceed in the same 
way with the next 
form. If your lining 
does not happen to 
be in one piece, as is 
sometimes the case, 
you will find a paper 
pattern much more 
convenient to use. Al- 
ways be sure to have 
the two front edges 
on the straight of the 
goods, and be very 
careful to have the 
waist lines in the cen- 
ter back and both 
side forms on a straight thread of the goods ; otherwise the 
waist will twist. In using the paper pattern, remember to 
trace the waist lines, seams and darts as you did with the 
draft, as you will need these tracings in the lining to baste 
by. 

Be very careful when tracing to begin right at the 
waist line to trace up or to trace down. If you do not, when 
cutting you will be apt to make the waist shorter or longer 
and also make it larger around the waist. 

45 




This miniature draft of the front of the waist 
is shown here simply for immediate reference in 
study. It is reduced to one-fifth actual size. 



It has been stated that you should cut the arm hole 
and neck line in the tracing, but it is better to leave one-half 
inch on these lines also. Then if they are too small they 
can be cut out more. It is a good idea never to cut out thg 
neck curve before the collar has been pinned or basted on, 
for the front should be left as high as possible to maintain 
the round shape. This is very important. Of course, cut 
out enough so that the front will fit up around the neck 
fairly well. 

IRREGULARITIES IN DRAFTING. 

Occasionally when you are taking measurements you 
will find a person who is more developed on one side th?,n on 
the other. In many such cases, padding will be advisable, 
but sometimes you will find it necessary to take measures 
for each side and make two different drafts according to 
each set of measurements. This, however, is very rare. 

You are also apt to have to 
draft patterns for persons with 
enlarged necks, but with med- 
ium busts and waists. First, 
draft a pattern as though the 
neck was normal, using a neck 
measure about the same as the 
armhole measure, and a shoul- 
der measure in comparison with 
the other measures. Then take 
the neck and shoulder measures 
as they really are and appl> 
them to neck curve and shoul- 
der line on draft and make each 
long enough to correspond with 
"enlarged" measures. In this 
way you keep the shoulder, 
front and armhole lines in their 
proper positions. 

When taking the measure- 
ments of a round shouldered 
person, the back measure is 
extra long while the measure „f7:'; "'"f"'",^'"";' '^". '"';'' 

■^ _ i.iv,i»,kji^i ^^ ^f jjjg waist IS sliown here simply 

from the point of the shoulder ^""^ immediate reference in study. 
.11 1 ii. c 11 . > . It is reduced to one-fifth actual 

to the bottom of the waist is size. 




46 



shorter in proportion to the bacl<; measure than it is in a 
straight back; therefore, when fitting a waist on such a 
person it will bulge in the armhole. This can be partly 
overcome in the cutting if you will lay a small dart in the 
pattern in the armhole in the back, letting the dart run 
out towards the center of the back; if there is still full- 
ness there when fitting, it can be more easily remedied. 
When cutting the lining, allow wider seams in the back 
as the round shoulders are wider and require more room 
than the normal back. It is also a good idea to take a 
long shoulder measure and then when fitting, if it is too 
long, it can be cut off, while if it were too short it would 
have to be pieced. 

If the person is hollow between shoulder blades, and 
the blades are very prominent, the back measure will be 
shorter in the center than it would be two inches at either 
side, so be very careful to take a long back measure on such 
a person or the lining will come low in the back of the neck, 
the shoulder blades taking up the length. 

In drafting a pattern for fleshy forms, it is sometimes 
necessary to use three under arm pieces. Draft the front as 
directed in Lesson 1. Draw a new Line 5 from dot C 
straight down to the waist line, parallel with the old 
Line 5, and make the extension below the waist line from 
the end of the new Line 5. (See Figure 5.) 

Draft the back as directed in Lesson 2 until you come 
to the division of Line 16 and the arm hole for the side 
bodies and center back. Make the center back on Line 
16 from one and three-fourths of an inch to two inches 
wide. Use one-third of the balance of Line 16 for the 
width of the first side body and a little over one-half of the 
remaining for the width of the second side body, making 
dots at the division points. 

Use one-third of the arm hole for the width of the 
center back, and a little more than one-third of the remain- 
ing for the width of the first side body, and a little over 
one-half of the balance for the width of the second side 
body, making dots at the division points. Draw Lines 23 
and 24 from the first and second dots on Line 16 to the 
first and second dots in the arm hole, and draw a new Line 

47 




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o 



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48 



22 from the third dot on Line 16 to the third dot in the 
arm hole. (See Figure 7.) 

Now cut off the space between the two Lines 22, also 
between the two Lines 5 in the front; join these two pieces 
together and lay on a piece of paper and trace around the 
outside edges and make the hip curve; trace the waist line 
and then cut out, allowing for seams. After tracing the 
second side body and front, do not forget to allow for 
seams where you cut off the two pieces to form the third 
side body ; also give a curve over the hip in the second side 
form. (See Figure 6.) 




FRENCH LINING. 

Many dressmakers prefer to use the French lining, 
which consists of only one dart, two front sections, an 
under arm section and two back sections. 

To draft this pattern first outline a front and back 
according to instructions already given, with the excep- 
tion that the bust line in front and back is each made 
just 14 of bust measure. To draft a pattern with only one 

49 



dart in front, omit the first or front dart and place the 
top of the second dart on Line 6 about three and one-half 
inches from Line 1. Let the center of this dart on Line 8 
be at a point straight down from top of the dart. Use one- 
fourth of the difference between the bust and waist meas- 
ures for its width. If this should be over three inches take 
the excess out at dot K. Draft the back by continuing the 
bust line, making it also Vi of bust measure. (See illus- 
tration.) Draw the waist line, making it same length as 
bust line. Next draw the center back line from the end 
of waist line up until it is the length of back measure 
plus 1/4 inch. Then draw the top line the same length as 
bust line, also measure down two inches from the top 
line and draw the line which will locate the shoulder line, 
as explained in Lesson 2. Draw the shoulder line and 
divide it, also the front shoulder into two equal parts, 
placing Dots A and B at the division points. From A 
draw a line to the top of the dart. The waist line in the 
back must be made to measure just 14 of the waist meas- 
ure, which in this case is six inches. The back is divided 
into three sections, therefore this surplus can be taken 
out when drawing the lines for the sections. To ascer- 
tain just how much must be taken out subtract 14 of the 
waist measure from the waist line, as it is. In this case 
it measures nine inches. Therefore nine inches minus 
six inches leaves three inches to be taken out. By taking 
1/^ inch off of each end and one inch at each of the center 
sections, will use up the surplus — three inches. Therefore, 
draw the under arm and center back lines to a point 14 
inch from the ends and name these points C and D. (See 
illustration.) The center back is one and one-half inches 
wide, so make Dot E this length from D and draw a line 
from E to B. Now, since one inch must be taken out 
here, measure to the left of E one inch and make Dot 
F, and draw a line from F to the bust line at intersection 
of the other lines. From the right end of bust line meas- 
ure to the left 1/2 of width of back measure and make 
Dot G. Find the center of line between C and F and 
make Dot H at division point. Again, since one inch is 
to be taken out here, make Dots I and J each 14 inch 

50 



from H and draw a line from J to G on up to armhole; 
also draw a line from I to G. 

Trace and cut according to instructions previously 
given. In tracing the first part of the front, trace on the 
solid line from M to A, but when tracing the second part 
trace on the dotted line from L to A. The first part will 
have to be traced and cut and then laid on material again 
before second part is traced and cut, in order to make 
a seam allowance. The dotted line gives full rounding 
effect over bust. The back and under arm portions are 
also traced and cut separately. 



51 



CHAPTER IV. 

Sleeve Measurements; Order of taking, length of sleeve, length of 
sleeve from shoulder to elbow?, inside measure from armhole 
to wrist, armhole measure, elbow measure, hand measure; Draft- 
ing a sleeve pattern; Tracing and cutting the sleeve; Shirt- 
waist Sleeve; Leg o'Mutton Sleeve; Bishop Sleeve; Mousquetaire 
Sleeve; Elbow Sleeve. 



The American System uses the following measures 
for drafting the sleeve lining: 

First, length of sleeve; second, length of sleeve from 
shoulder to elbow; third, inside measure from armhole 
to wrist ; fourth, armhole measure ; fifth, elbow measure ; 
sixth, hand measure, 

1. Length of sleeve: This measure is obtained by 
measuring from the armhole at a point about two inches 
below and back of the top of shoulder down over the bent 
elbow to the joint of the wrist. (See dotted Line 11, Fig. 
1, Lesson 1.) 

2. Length of sleeve from shoulder to elbow: Meas- 
ure from the armhole, at a point about two inches below 
and back of the top of shoulder, to the elbow point. (See 
top part of Line 11, Fig. 1, Lesson 1.) In taking this 
measure be very careful about placing the elbow correctly, 
as a wrong measure here will make the sleeve out of pro- 

53 



portion — either too long above the elbow or too short 
below, or vice versa. 

3. Inside measure from armhole to wrist: Place end 
of tape line at armhole (close up) and measure down to 
the wrist. (See Line 12, Fig. 1, Lesson 1.) 

4. Armhole measure : Taken according to instruc- 
tions in Lesson 1 for taking armhole measure. 

5. Elbow measure : Measure around the arm at 
elbow bend ; this measure should be taken rather loose. 
(See Line 13, Fig. 1, Lesson 1.) 

6. Hand measure: Measure around the hand at the 
largest part, with thumb held inside the hand, so as to 
get the sleeve large enough for the hand to slip through 
easily. 

The measures used in drafting the sleeve for this 
lesson are as follows: Length of sleeve, 25 inches; length 
from shoulder to elbow, 15 inches; inside measure from 
armhole to wrist, I8V2 inches; armhole, 13 inches; elbow, 
11 inches; hand, 8 inches. 

Measure in 1 inch from left edge of paper and down 
1 inch from the top, and draw Line 1 the length of 
sleeve measure, which in this case is 25 inches. From 
the top of this line draw a horizontal line to the right 
parallel with edge of paper, about 10 inches long, and 
mark it Line 2. Measure down on Line 1 the length 
from shoulder to elbow, which in this draft is 15 inches, 
and make a dot and mark it A. 

From the lower end of Line 1 draw a horizontal line 
to the right and make it the length of one-half hand meas- 
ure and mark it Line 3. Place dot D at junction of Lines 
1 and 3 and dot E at right end of Line 3. 

Measure up V/o inches from D and make dot F 
and draw Line 4 from F to Jl, letting it extend ^^ inch 
beyond the dots; also make dots 1/2 inch in from F and E 

54 



(see draft) . From F measure up the length of inside 
measure and make a dot and mark it B. Find midway 
point between B and top of line and place C at division 
point. Measure 2 inches to the right of A and make 
a dot and mark it G. From G measure to the right 
the length of one-half the elbow measure and make a 
dot and mark it H. Make dots three-fourths inches to the 
left and to the right of H and mark them respectively 
I and J. Draw Line 5 from G to J, through I and H. 
From C draw a horizontal line to the right the length of 
two-thirds of the armhole measure and mark it Line 6. 
Make dot K at end of Line 6. Find the midway point 
of this line and make dot L at this point. From junction 
of Lines 1 and 2, measure to the right the length of one- 
third of armhole measure and make dot M, Draw a 
slight outward Curve from B up to M and on down to K. 
Draw Line 7 from G to B by placing the A curve on 
square on G on draft and the lower end touching B. 
Reverse the square and continue Line 7 on down to 
end of Line 4. Also draw Line 8 from G to dot i^ 
inch to right of F while square is in this position, 
moving it over so it will touch the dot. In the same 
manner draw Lines 9 and 10, drawing from dots I and J 
up to L and K and then reverse square and continue 
them on down to Line 4, letting Line 9 touch dot 1/2 iiich 
to left of E, and Line 10 touch dot i/^ inch to right of E 
or end of Line 4. When within 2 inches of dot K in draw- 
ing Line 10 reverse square and place C at end of square on 
K and finish the line. This gives a spring to the sleeve 
which adds to the fit of it. Draw a line from B to L by 
placing the neck curve on long end of square on B and 
letting short end touch L. Lines 7 and 10 outline the 
upper part of sleeve and Lines 8 and 9 outline the under 
part of sleeve. 

TRACING AND CUTTING THE SLEEVE. 

Lay the draft on the double lining, and pin down 
carefully. Have the center of the upper part from M 

55 



straight down to Line 5 on the straight of the goods. 
First, trace Line 7 from G up to B, then from G on down. 
Next, trace Line 10 from J up to K and then from J on 
down. Tracing from the elbow up and from the elbow 
down keeps it from slipping. Trace Line 4, also the 
line from B to M and on to K. This finishes the upper 

part of the sleeve. Unpin 
and remove the draft and 
cut, leaving three-fourths 
of an inch for seams on 
Lines 7 and 10 and one- 
fourth of an inch on Line 
4 and top curve. Now pin 
draft back on lining again 
so that the center of the 
under part will be on the 
straight of the goods and 
then trace Lines 7 and 9 
from elbow up and Lines 
8 and 9 from elbow down; 
also trace Line 4 between 
Lines 8 and 9 and the top 
curve, from B to L. Re- 
move draft and cut, allow- 
ing the same for seams as 
in upper part of sleeve. If 
you prefer to cut a paper 
pattern, proceed in the 
same manner as given for 
the lining. 

SHIRT-WAIST SLEEVE. 

Draft the sleeve on a 
folded piece of paper hav- 
ing the folded edge to- 
wards you. Measure along 

This miniature draft of the sleeve is flip fold thp IPTlO'th of 
shown here simply for imme<?iate refer- '^ 

ence in study. It is reduced to one-fifth slecvG measure and make 

actual size. In drafting always refer to ■, , . -u^fU ori^c! nnrJ 

the large draft accompanying this lesson. «■ ^lOt ai UOlll eUUb dllU 

56 




M LINE Z 




SHIRT WAIST SLEEVE 
FIG.8 FIG. 9 



57 



draw Lines 1, 2 and 3, according to instructions for drafV 
ing a tight-fitting sleeve. Line 3 is made the length of 
one-half of hand measure plus three-fourths of an inch. 
Locate dots A, B and D and E as given for a tight-fitting 
sleeve. From B measure out to the right and draw Line 6 
the length of two-thirds of the armhole measure and make 
dot K at the end of this line. From the left end of Line 
2 measure to the right one-half of armhole measure minus 
2 inches and make dot M. Make dot L on Line 6 one-half 
inch farther than M is on Line 2. For the top of the upper 
portion of sleeve, draw an outward curved line from the 
junction of Lines 1 and 2 to M, letting it extend i/^ inch 
above Line 2 and curve on down to K, then curve from 
junction of Lines 1 and 2 to L and on to K, letting it 
extend 14, inch below Line 6. (See Fig. 8.) Draw a 
slightly curved line from K to E. Leave 1/2 inch margin 
for seams when cutting this line and '^/i inch at top. If 
made with a cuff cut the sleeve off on dotted line. Cut the 
opening of the sleeve I14 inches from the fold, extending 
it up about one-half the length of the cuff, so that in 
laundering the cuff will lie open and can easily be ironed. 

LEG O' MUTTON SLEEVE. 

The one-piece shirt-waist sleeve adapts itself admir- 
ably for a leg 0' mutton sleeve with the exception of it 
being just a little large for the sleeve now in vogue. 
This can be overcome by laying a small plait or fold 
lengthwise of sleeve through the center. The two-piece 
coat sleeve also makes an excellent fitting two-piece leg , 
o' mutton sleeve. The measurements should be taken 
just a little looser and then drafted according to instruc- 
tions given. (See Fig. 9.) 

BISHOP SLEEVE. 

Lay the back edges of the two-piece coat sleeve to- 
gether as indicated in Fig. 10 and pin them onto a large 
piece of paper. Cut along the inside lines and around 
the top. If these inside lines are drawn with less curve it- 
will give more width at the elbow, if desired. Cut the 
bottom on a cuived line like illustration. If more fullness 

58 




BISHOP SLEEVE 
FIG. 10 



59 



is desired, make the curve a little deeper, or lower toward 
the center. 

Occasionally one wishes to make a sleeve with an 
inside seam only. This is done by arranging the two- 
piece coat sleeve as given for a Bishop sleeve. Follow 
the inside lines and top curve, also lower lines. Cut from 
the lower lines up to elbow on both upper and under 
portions. This will make a seam from the elbow to wrist 
on the outside, but will give the entire upper half in one 
piece. (See Fig. 11.) This is an excellent fitting sleeve 
and adapts itself well for an all-tucked sleeve. 

MOUSQUETAIRE SLEEVE. 

Lay the two-piece coat sleeve according to instructions 
given for the Bishop sleeve. Outline the top curve and 
down to elbow on inside lines. Continue these inside lines 
in the same gradual slope until they are as long as sleeve 
is desired. This sleeve is usually tucked or shirred at 
inside seam, therefore allowance must be made in the 
length for this. (See Fig. 12.) 

ELBOW SLEEVES. 

Use the shirt waist sleeve and cut from dot A across 
to the inside seam or line. Do not make this a straight 
line, but curve up a little before reaching the inside line. 
This will make the pattern a little longer in the back 
than in the inside, which is necessary, since the arm is 
longer on the outside. 

Thus, you see, the foundation of all sleeves is the 
plain coat sleeve as given in this lesson, and for any sleeve, 
however fancy, that has a tight-fitting lining, the coat 
sleeve is used. 

When a tight, glove-fitting sleeve is made, great care 
must be exercised in the shape at the top and in the el- 
bow ; otherwise you will have a sleeve in which j^ou can- 
not raise the arms or bend the elbow with any freedom. 
This sleeve must be fitted to the arm and in the armhole 
as carefully as any other part of the waist. 

60 




SLEEVE WITH INSIDE SEAM 
AND SEAM FROM ELBOW TO 
WRIST ON THE OUTSIDE 



61 



It is always advisable to draft a sleeve pattern for 
each patron from her own measurements. Dressmakers 
too often make the mistake of trying to make, the same 
sleeve pattern do for everyone, and hence in a number of 
cases a poor fit is obtained. No two persons are exactly 
alike; some arms are long from the shoulder to the elbow, 
and short from the elbow to the wrist, and some are the 
reverse; some are large around the upper part of the arm 
and small around the lower part, and vice versa. 

Every beginner and most dressmakers consider the 
making of the sleeve the most difficult part in all their 
sewing, yet it need not be if it is given the attention 
from the start that it deserves, and is thoroughly mastered. 
It is, however, one of the most important parts in the 
making of a costume. 

Nothing is more uncomely and uncomfortable than 
an ill-fitting sleeve. It is, therefore, very necessary that 
in the first place correct measurements are taken; sec- 
ondly, that the drafting is accurately done; third, that 
the cutting and the basting are carefully and minutely 
done; fourth, that the sleeve is put in the armhole in the 
right position. Much, however, depends upon the basting 
and the location of the elbow, since a little carelessness 
in either direction may result in a very unsightly appear- 
ance. 



62 




MOUSQ.UETAIRE SLEEVE 
FIG.I2 



63 



LU 

> 
LU 
LU 


»1 

z 






















5 

Elbow 
Measure 






















(0 
UJ 

h 

(0 

>- 

(0 


4 

Armhole 
Measure 






















3 

Inside 
Measure 




















2 

Length from 

Shoulder to 

Elbow 






















z 
< 
o 

UI 

< 

z 
< 

_l 

QQ 

UJ 
OC 

< 
UJ 


1 
Length 






















HI 

S 

< 

z 






















e 

Z 


1- 


1 01 


1 CO 


1 t 


1 Ifl 


1 (0 


1 h 


1 00 


1 0) 


1 o 



64 



CHAPTER V. 

Basting Lining of Waist; Seams to baste first; Shoulder seam, under 
arm, darts; Basting the Sleeve Lining, how to pin before bast- 
ing, how to correct errors in basting; Fitting the Waist Lining, 
how to have person stand, how to pin, numerous points to ob- 
serve; Fitting the Sleeve Lining, how to pin into armhole, points 
to observe, how to remove lining and make changes; Stitching 
Lining and Finishing Seam.s in the Waist; Arranging fcr Hooks 
and Eyes on Waist; Boning the Waist; Second Fitting of Wast; 
Padding the Waist; Draping Waist on the Lining; Fitting a 
Lining over a Form; To prepare a Form fcr one's. ov/n use. 



BASTING LINING OF WAIST. 

We will now take up the lining of the waist where we 
left off in Lesson 3 and proceed to put it together. Proper 
basting is a very important factor in the fitting of a gar- 
ment, and should be learned as correctly as any other part 
of dressmaking. 

Thread a nesdie with colored cotton thread, and baste 
along in small stitches on the waist line in each part of the 
waist, also in the front tracings, or Line 1. This will 
enable you to always know just where those lines are and 
will aid you in putting the waist together, and in fitting, 
Leave them in until the waist is finished. 

Use basting cotton No. 50 for basting the seams and 
always make short stitches so the seams will not gap when 
fitting. 

First, baste the darts beginning at the top, and baste 
down ; be sure and keep the traced lines together. This can 
be done with more exactness if they are first pinned 
together. The waist line in the darts may not meet exactly; 
if they do not, see to it that there is the same difference in 
them in both fronts, as they must be exactly alike. 

65 



Next baste the two center backs together. Begin first 
by pinning them together at the waist line and then on up, 
and baste from the waist line up and from the waist line 
down, keeping the traced lines together. Now baste on 
the side forms that fit next to the back, pinning them at 
the waist line first. Baste each of the other forms on 
in the same manner, placing waist lines together, etc., etc. 

Baste ths shoulder and then the under arm seams. 
Proceed in the same manner in basting the under arm 
seams as given for basting the backs. Instead of basting 
the shoulder and under arm seams on the side as the 
others are basted, baste them on the opposite side; then 
when fitting, if any changes are to be made, they can 
be made at these seams with very little trouble. 

BASTING THE SLEEVE LINING. 

First, baste the inside seam. Begin 
at dot G, and pin it together each way, 
pinning up from G to B and down from 
G to dots, and then baste it. The up- 
per part of the sleeve is much wider 
than the under part. To make the 
back seam, place the top edges of the 
upper and under parts together and 
pin them; also pin on down toward the 
elbow until within two inches or such 
a matter of the elbow, keeping the trac- 
ings together; then baste it. Now pin 
the parts together at the wrist line and 
on up to within two inches of the el- 
bow, and baste it. If the upper part 
is found to be a little longer than the 
under part of the sleeve gather this 
extra fullness and adjust it in this 4- 
inch place at elbow and baste it. .(See 
Fig. 13.) 

Lay the sleeve on the table or some flat surface with 
the upper part down. If it is basted properly it will lie 
flat and smooth except the fullness at the elbow; if not 
basted properly, it will twist. If the upper part of the 
sleeve draws in toward the elbow (after it is basted), there 
is too much fullness at the elbow; draw out the basting 




Fig. 13 

Fullness of Sleeve Lining 

at Elbow 



66 



and let enough of the fullness out to make it set smooth. 
If it draws away from the elbow, there is not enough full- 
ness there. Again the importance of correct measure- 
ments is shown, for if the elbow measure is a little too 
high or too low, the seam may have to be rebasted and 
the elbow put in the proper position. 

FITTING THE LINING. 

The next important step 
after the basting is the fit- 
ting. If the measurements 
were accurately taken, and 
the calculations and draft- 
ing were properly done, 
and great care was used 
in the putting together and 
basting, there would be no 
alterations to make and a 
perfect fit would result, if 
the form you are fitting is 
normal. 

Put the waist lining on 
the person to be fitted and 
have her stand in a nat- 
ural position. First pin it 
at the neck and then on 
down to the bust, allowing 
the front tracings to come 
just together. Do not lap 
it, but pin it like you would 
a seam. Next pin the waist 
lines together and then on 
up to the bust. 

Now notice the bust. If 
it appears too tight, allow 
more room by letting out 
the under arm seams. If 
too loose make these seams 
a little larger. Do not fit 
it too tight over the bust. 
Note the waist in general ; 
if too large, take it in on the under arm seams. Sometimes 




This miniature draft of the sleeve is 
shown here simply for immediate refer- 
ence in study. It is reduced to one-fifth 
actual size. 



67 



it will be necessary to take some of the surplus out at the 
darts, but you will have to use your own judgment largely 
in this. You do not want the lining to draw cornerwise 
from the darts to the under arm seams; it must fit per- 
fectly smooth there. 

Notice if the darts are in the right position. If they 
seem too low, raise the front at the shoulder seam; if too 
high, lower the front at the shoulder seam. Sometimes 
they may need running just a little higher, or they may 
have been basted a little too high. 

Next fit the shoul- 
der. If you have to 
open the seam, place 
one hand on the back 
and the other over the 
front and smooth them 
both up at once to- 
ward the shoulder, 
noticing that they fit up 
to make the neck right. 

Now look at the 
arm hole. It should 
fit quite close. Do not 
be in too big a hurry 
to trim it out, for re- 
member that a three- 
eighths inch seam 
must be taken off 
when the sleeve is 
sewed in, and this 
will make the arm 
hole about one inch 
larger. Of course, if it 
fits too snug and feels 
too tight, it may be 
trimmed a little; do 
not cut out too much in 
the back and over the 
shoulder. A wide back 

is required when the ''''>'* miniature draft of the front of the waist 

1 1 1 ^ - 4- u '■'* ^h"^'n here simply for immediate reference in 

SnOUlClerS aie to be study, it is reduced to one-fifth actual size. 




68 



fitted long, but the back is narrower if the shoulder 
is fitted short. .^ 

If the lining wrinkles much in front when the arms 
are hanging down, it is too high under the arms and needs 
trimming out. If, after cutting the arm hole out here, it 
makes the front too loose above the bust, raise the front 
at the shoulder seam. If the arm hole is too large make 
the shoulder and under arm seams a little larger. Occa- 
sionally there will be a little fullness in the arm hole right 
in front of the bend of the arm that cannot be taken out. 
In such a case take a small dart about one-fourth of an 
inch deep in the lining and one and one-fourth inches long, 
letting it extend out toward the back dart; this gives a 
good spring over the bust. 

If there is still a little fullness over the bust in the 
center front where it is pinned together, take a small dart 
in the center front where it is pinned together, about 
where the bust line is, letting it extend toward the arm 
hole. 

If the lining is too loose across the shoulder blades, 
make the curved seams a little larger. . See if the waist 
line in the back is in the right position. Observe height 
of the neck in the back. Notice if the side bodies are 
the right length, setting well down to the form, and if 
the waist is high enough undsr the arms. 

If the side bodies set close to the waist and armhole, 
most of the changes can be made in the under arm and 
shoulder seams. The darts and curved seams will not 
often have to be altered. If the curved lines bulge out any, 
pin them in. If the back draws across the upper part, 
let the center seam out a little. If it is too large at the 
waist line and taking it up under the arms throws the 
curved seams too far forward, take the center back seam 
up a little. It is advisable to fit as broad across the shoul- 
ders as can be worn and not bulge in the back. Trim out 
the neck sufficiently to be comfortable. Do not have it 
too high in front or too low in the back. When all the 
necessary changes have bsen made, mark with pins where 
the bottom of the waist is to come, which depends upon 
the style in which it is to be worn. 

69 



FITTING THE SLEEVE LINING. 
Before taking the waist lining off, fit the sleeve lin- 
ing. Adjust the sleeve in the proper position; draw it well 
up under the arm so that the elbow is in the right location, 
and pin the sleeve in the arm- 
hole at the inside seam and 
around under the arm almost 
up to the shoulder seam. Now 
have the person bend her arm 
back and forth and you can 
readily tell if the elbow is cor- 
rect; if it is too high, lower it; 
if too low, raise it by adjusting 
the seams. If the sleeve is too 
loose, take up a little on each 
seam ; the shape of the sleeve is 
much better retained by altering 
both seams. Of course, if the 
sleeve is just a trifle too small 
or too large, the change may be 
made in just one seam. If 
there are changes to be made 
above the elbow, make them 
there and not below; the same 
applies to changes made below 
the elbow. Make the sleeve the 
desired length, being very care- 
ful not to get it too short. 
Fit it as long as can be com- 
fortably worn, as sleeves seem to shorten with the wear- 
ing. 

Of course, you will not need to m.ake all these changes 
in one fitting, but they will appear from time to time, and 
as said before, the more accurate the measurements and 
drafting are done, the fewer changes will have to be made. 
This requires niuch practice and patience, and the more 
practice and experience you have, the sooner you will reach 
perfection. 

Carelessness in basting the sleeves may cause you to 
think that it has not been properly put in or is not cut 




This miniature draft of the bactc 
of the waist is shown here simply 
for immediate reference in study. 
It is reduced to one-fifth actual 
size. 



70 



correctly. Every remedy but the true one is tried; the 
armhole becomes disfigured and stretched by much bast- 
ing and trying on, and the sleeve is ruined by too much 
trimming and twisting. 

Now remove the lining. As you take the pins out of 
the fronts to open it, be sure and place them back in one 
front just where you removed them; also mark the point 
in the armhole where the inside seam of the sleeve is 
placed. It is a good idea to take a needle and thread and 
run around with small stitches in all changes you have had 
to make; also where the pins are around the bottom so 
they can be removed. Mark the changes in the shoulder 
and under arm seams and trim them evenly before taking 
out the pins. In order to have both sides just alike, fold 
the waist together and pin at the waist line, top of darts, 
under arm seams, and in the back, and then trace all of 
the sewings where changes were to be made in the one 
side, on to the other side. Run the tracing wheel also 
over the stitches for turning at the bottom. Open the 
sleeve and trace on to the other any changes that may 
have been made. 

If one shoulder is a little higher than the other, trace 
the highest one and then pad the other. 

STITCHING LINING AND FINISHING SEAMS. 

The stitching is now ready to be done. Stitch all but 
the shoulder and under arm seams. Do not stitch in the 
basting threads, but as close to them as possible, as it 
makes them so hard to draw out. Stitch the curved searns 
just inside the tracing, and the others just outside. After 
stitching them, trim them off evenly. Leave one-half inch 
in the curved seams. Stitch all the seams the same way, 
either from the bottom or the top, and be sure the needle 
is on the waist line before the turn is made ; otherwise you 
may lengthen or shorten the waist a trifle. Overcast or 
bind them, as best suits your convenience. This will pre- 
vent any fraying out of the seams. If you overcast them, 
use small, even and very shallow overhand stitches and 
do not draw them very tight. If you bind them, use seam 
binding, sewing it along the edges of the seam and arrang- 
ing it so as to sew both edges of the binding at the same 
time; do not draw the stitches too tight. Both edges of 

71 



the curved seams are to be overcast or bound together, 
but each edge of the center back and darts must be over- 
cast or bound separately. 



ARRANGING FOR HOOKS AND EYES. 

Cut a straight piece of lining two inches wide for each 
front and a little longer than the front edge of the lining. 
This will serve as a facing for each front where it is not 
hemmed. Place a strip on the outside of the lining with 
one edge even with the edge of the front, and stitch a seam 
three-eights of an inch back of the edge. Turn the facing 
over so that its free edge will come on the inside of lining, 
making the fold come just at the seam, and stitch one- 
eighth of an inch back of the edge; make another row of 
stitching three-eighths of an inch beyond the first row and 
into the casings thus formed run a piece of whalebone or 
featherbone and tack it in place. 

Now mark the space for the hooks and eyes. Cut a 
piece of cardboard the length of space you want between 
the hooks and eyes, which is usually about one or one and 
one-half inches, and lay it on the edges of the fronts and 
mark both fronts by tracing or with tailor's chalk, from 
the waistline up to neck. A very satisfactory method of 
marking the places for the hooks and eyes is to lay the 
fronts together so that the front line of one will come di- 
rectly over the front line of the other. Mark the spaces 
on the top front, then trace these markings on to front 
beneath, and in this way there is no possibility of the eyes 
on left front not being directly opposite the hooks on right 
front. Place the hooks on the right front about one-eighth 
of an inch back, and sew through the two rings at the 
back and also around the hook end, sewing this to the row 
of stitching near the edge. Place the eyes on the left front 
about one-eighth of an inch out. Sew entirely through, 
allowing the stitches to show on the outside of the lining. 
Be sure to place the bone spoken of above in the fronts 
before sewing the hooks and eyes on the lower part of 
the fronts. Turn under a seam at the edge of the facing 
strip and pull it up under the hooks smoothly and over- 
hand or hem it down neatly. 

72 



BONING THE WAIST. 
All the seams must be carefully pressed and finished 
before boning them. We advise the use of featherbone, 
since it can he cut any length desired and there is no waste. 
Use sewing silk for sewing the bones in and a medium 
sized needle and take a very long stitch. Each bone should 
reach below the waist line to the turning-up line for the 
bottom of the waist. Bone the darts first. Cut the feather- 
bone the length of the darts; pull the casing down a little 
and cut the bone off about one-fourth of an inch, so as to 
make the casing longer than the bone, and then turn the 
casing over the end of the bones to make a smooth finish. 
If you possess a machine attachment for boning, you can 
sew the bones in very easily. Lay the featherbone under 
the foot of the machine and place the edge of the seam 
over it and stitch it down on the part of the seam that ex- 
tends out, stitching as closely as possible to the seam 
stitching, but never in it, and be careful to have it smooth 
and straight. In like manner bone the center back and 
under arm seams, but do not bone the latter until after 
the second fitting. When boning a waist for fleshy forms, 
it is sometimes necessary to place a bone midway between 
each two seams and fasten them to the lining only. 

SECOND FITTING. 
The lining is now ready for the second fitting. Urge 
your patrons at all times to wear smooth underwear; also 
to wear a good corset and to have it the same each time 
they are fitted. Once in a while a patron will lace dif- 
ferently and cause a great deal of ^_ 
trouble in the fitting in this way. 
You cannot secure a perfect fit 
over bunglesome underclothes or 
over an old, broken-bone corset. If 
you find that these defects are true 
of a patron, do not hesitate to call 
her attention to it. 

Sometimes after boning a 
waist it is a little too tight. If so, 
let it out in the under arm seams, Fig. 14. Friiis. as Paddmg, at Armhoie. 

73 




as they have not yet been stitched. Now notice if any pad- 
ding must be done, and if so, mark the place. If one shoul- 
der is higher than the other, a more perfect fit is obtained 
by padding the lower one. If there is a hollow in the cen- 
ter of the back between the shoulder blades, put in a small 
pad. If there is a hollow place under the arms, pad it; 
if these pads are made after the fashion of a dress shield 
and sewed in after waist is finished, more pleasing results 
follow. If the chest is flat, the appearance will be much 
improved if padding is placed there also. 

For padding use cotton batten which comes in sheets. 
When more than one layer is needed to fill the hollow, make 
the first layer to fit the place to be padded, then the next 
one a little smaller, and so on until it is filled. If you will 
pull the cotton out at the edges instead of cutting it, the 
padding will not show where it begins. If you are obliged 
to cut it from some places, pull out the edges afterwards. 
If the material for the outside of the waist is of heavy 
goods, the padding may be placed between the lining and 
the material ; if not, it will have to be placed on the wrong 
side of the lining and then covered. 

A very satisfactory way to make the waist appear 
fuller through the bust when it is necessary is to wear a 
corset cover which has two or three ruffles across the front 
about three and one-half inches wide, sloping off to about 
two inches wide at the arm hole and the under arm seam. 
These ruffles are very pretty, made of embroidery, although 
they may be made of bias crinoline. If the arms are long 
and thin, padding may be used between the elbow and 
shoulder in the sleeve; a better way, however, is to plan 
the waist with sleeves that are trimmed to enlarge the ap- 
pearance of the arms. 

The lining is now ready to be draped, which should 
be done upon a form, as it requires a great deal of time. 
If you do not have a form, it will have to be done on the 
patron, and there is danger of your hurrying too much for 
fear you will tire her, and perhaps, in your hurry, you will 
overlook some things that should have your careful atten- 
tion, whereas, if you had a form you could take your own 
good time and not feel hurried, or that you were subject- 
ing your patron to long and tiresome fittings. 

74 




Now observe the waist very carefully to ascertain if 
all the necessary changes have been made and if it fits per- 
fectly. Notice if the shoulders set properly and be sure 
that the arm hole is correct. Notice the sleeves in partic- 
ular, that they are the proper length and that they set well. 
If they appear too long at the top, turn them down, pin 
and then trim them off; if left too long or too high on the 
shoulders they will stand up when stitched in. If the long 
shoulder effect is worn, the sleeves should be cut less 
rounding at the top than when the shoulders are short. 

Cut a bias strip of canvas or crinoline about an inch 
wide and baste it around the bottom of the waist on the 
inside ; turn the edge of the 
waist under just a seam's 
width, cut a bias strip of 
lining one and one-fourth 
inches wide, turn under 
one edge and hem it down 
as a facing on the turned ;«! 

under seam of the bottom 
of the waist ; then turn un- , „ , ,. „ . 

Fig. 15. Facing the Bottom of the Waist 

der its other edge and hem 

it neatly to the waist. This is done, of course, after the 

outside material is draped on. 

FITTING A LINING OVER A FORM. 

One of the greatest diflficulties in making one's own 
clothes is the necessity of having to try on again and again, 
and it is not always easy to ascertain whether the desired 
effect is being produced or not. It is, therefore, of the 
utmost importance when one is making her own dresses, to 
possess a form of her own bust measure upon which to 
drape the waists and skirts. It is almost impossible to fit 
one's self without it. They may be purchased in any size. 
If you are sewing for others, you may need several sizes. 
However, adjustable ones are manufactured now which can 

75 



be made any size desired. The size of the form is based 
upon the bust measure. 

To prepare a form for your own personal use, cut a 
lining from heavy unbleached muslin or from cotton duck, 
or some strong material, and have it fitted perfectly to 
your own figure. Place the lining upon the form, draw it 
well on and pin the fronts together for one or two inches 
from the neck down, and up to two or three inches from the 
bottom — just enough to hold it firmly on the form, but 
open at the bust line. If the lining does not fit the form 
perfectly, do not try to make it do so, but make the form, 
to fit the lining. Pad between the form and lining with 
cotton, tissue paper or scraps of cloth until the lining fits 
the form as smoothly and evenly as it did you. Especial 
care must be given to the shoulders and neck ; if the lining 
is too long waisted for the form, raise it up by padding 
more under the shoulders. If too loose in the back, fill it 
up there. When the form is firm and will not dent in 
handling, sew the two front edges together with an over- 
hand stitch. 

This will require a great deal of care, but you will 
find it well worth your trouble, because it will simplify all 
the work in the future and save many fittings. Leave the 
lining always on the form and fit your waist over it. You 
can fit and make shirt waists on this form without ever 
trying them on, and be assured of a perfect fit, since all 
the imperfections can be easily seen and corrections made. 
When fitting waists that have a lining, fit the new lining 
right over the lining you have just put on the form. 

Note — The subject of boning thoroughly treated is so 
comprehensive — embraces so much, that as it comes more 
properly after the student has finished the elements of 
dressmaking — has completed the course — we have made ar- 
rangements with the Warren Featherbone Company by 
which they have prepared for us a special lesson on feather- 
boning, which follows immediately after the next lesson. 



76 



CHAPTER VI. 



Sewing Stitches, basting, running, back-stitch, overcasting, over- 
handing, hemming, cat-stitching, feather-stitching, hem-stitch- 
ing; French Seam, fell seam, French hem, French knots, button- 
holes of different kinds, eyelets, loops, sewing on buttons, but- 
ton moulds; Draping a Waist, the yoke, the part below the yoke; 
Evening Waists; Basting Material on Lining; Pressing seams 
and different fabrics; Basting of different fabrics. 



SEWING STITCHES. 

In sewing, as in embroidery, the beauty of the work 
depends largely upon the smoothness and evenness of the 
stitches. Uniformity in length of stitches and straightness 
of line are of the utmost importance. The mistake is often 
made of using a needle too large and thread too coarse for 
the material, and vice-versa. Do not use a long thread, and 
to avoid knotting and tangling, thread the needle with the 
end that hangs from the spool. After threading, make a 
knot at the longest end by twisting the end of the thread 
once and a half around the first finger of the left hand, 
then roll downward on the ball of the thumb, twisting once 
or twice and slip off and draw down to the end of the 
thread with the middle finger. 

The stitches commonly used are the basting, running, 
overcasting, overhanding, hemming and cat-stitching. 

77 




Fig. 16 




Fig. 17 



BASTING — There are two kinds of basting stitches — 
even and uneven. Even basting is made by passing the 
needle over and under the material, making the stitches of 
equal length. (See Fig. 
16.) In uneven basting the 
stitch and space are not 
the same length. The 
stitch that is taken up on 
the needle is shorter than 
the space covered by the 
thread. (See Fig. 17.) 

RUNNING— Running 
stitches are made just like 
the even basting stitches 
only smaller. 

BACK-STITCH — To 
make a back-stitch, take a 
short stitch on the upper 
and a longer one on the 
under side, and bring the 
needle out a stitch in ad- 
vance. Continue by insert- 
ing the needle to meet the last stitch, passing it under the 
material and out again a stitch in advance as before. 
Fasten at end by taking two stitches over the last one 
made. (See Fig. 18.) 

OVERCASTING— When taking this stitch, the needle 
should always point toward 
the left shoulder. Hold the 
material loosely in the left 
hand and make the stitches 
about one-eighth of an inch 
in depth and one-eighth of 
an inch apart, and keep the 
spaces even between the 
stitches. (See Fig. 19.) 
This stitch is used to keep 
raw edges from ravelling. 

78 




Fig. 18 




Fig. 19 



^ 



OVERHANDING — The overhand stitch is used foi* 
seaming two edges together, usually two selvages. Baste 
the two edges together first, then hold the material loosely in 
the left hand, having the edges between the thumb and fore- 
finger, and place the needle in from 
the back and let it point toward the 
shoulder. Overhand with close 
stitches over and over the edge, tak- 
ing up as little of the material as 
possible and making the stitches of 
equal length and depth. (See Fig. 
20.) When the material is opened 
the edge or seam must lie perfectly 

flat and not form a cord. 

I f 




.^iX-- 



Fig 20 



HEMMING— A hem is a fold of 
goods turned down and folded over 
to conceal a raw edge. Always turn the hem toward you. 
Crease the raw edge over one-fourth of an inch with the 
thumb and forefinger. To get the hem equal in width, cut 
a piece of cardboard the width the hem is to be, and place 
the end of the cardboard at the turned edge and mark the 
desired width by putting in pins, or with tailor's chalk. 
Move to left and continue marking until hem is marked all 
the way, then fold the material on the marking, and baste it 
down first. The hemming stitch is a slanting stitch and is 
made by holding the hem across the forefinger of the left 
hand and placing the needle in 
it so it will point toward the left 
thumb. Take up one or two 
threads of the cloth and also 
catch the fold of the hem at the 
same time. (See Fig. 21.) It 
is very important to have the 
stitches slant in the sam.e direc- 
tion and of uniform size. f^g 21 

CAT-STITCHING— Cat-stitching is a small stitch used 
to hold the various edges in dressmaking, especially the 

79 




flannel edges. Place the pieces of the flannel together and 
make a seam. Trim off one edge of the seam and press 
the other edge down to cover the seam. Insert the needle 
under the flat seam at the upper left hand corner, then 
cross to the edge below and take a small stitch a little to 
the right through all the thicknesses; cross again to the 
top and insert needle as before, taking a similar stitch, 
always pointing the needle to the left. (See Fig. 22.) 
Flannel seams may also be pressed open and each side of 
the seam cat-stitched. (See Fig. 23.) 




Fig. 22 Fig. 23 

FEATHER STITCHING— Feather or brier-stitching 
is often used in fancy and embroidery work as well as in 
sewing. To make this stitch, bring the needle and thread 
up through the material, which should be held over the left 
forefinger. Take a short, slanting stitch, bringing the needle 

out over the thread which 
is held down by the thumb. 
Take the second stitch on 
the opposite side, pointing 
the needle towards the line 
on which you are working. 
Two or more stitches, in- 
^'^' "^ stead of one, may be taken 

on each side. (See Fig. 24.) The beauty of feather- 
stitching depends upon the uniformity of the stitches. 

HEM-STITCHING— Measure from the edge of the 
material twice the width of the hem wanted and with a 

80 




needle or pin pick out one of the threads, being careful 
not to break it if possible. The chief difficulty is in draw- 
ing the first thread. From four to six threads should be 
drawn, depending, of course, upon the texture of the 
fabric. Turn the hem, creasing the edge one-eighth of 
an inch, and baste it even with the threads drawn. Fasten 
the thread in the hem and take up an equal number of the 
cross-threads. Draw the needle through and take one 
stitch in the hem, being careful not to take the stitch 
too deep. Repeat this until hem is finished. 

FRENCH SEAM — This is made by joining a narrow 
seam on the h^ 



right side, 
then trimming 
it closely and 
evenly; turn 
the seam on 
the wrong 
side, crease it 
smoothly and 
take up anoth- 
er seam about 
one - fourth of 
an inch deep. 
This must fully 
cover the edges 
of the first seam. 



V * . .. ^ . 



(See Fig. 25.) 



Fig. 25 




FELL SEAM — A 
fell is a seam hemmed 
down to conceal a raw 
edge. It is made by trim- 
ming off one edge of a 
seam very close to the 
stitching and turning the 
other edge down flat to 
cover the short or raw ^''«'- ^^ 

edge; press hard with thumb, then baste and hem. (See 
Fig. 26.) 

FRENCH HEM — First crease a narrow turn on one 
edge of the material, then a second. Hold the wrong side 



J 



81 




Fig. 27 



towards you and fold 
the hem back on the 
right side and crease 
the material ; o v e r- 
hand the folded edges 
together with very 
short stitches. Open 
the hem and crease 
with thumb. This 
hem is used in hem- 
ming table linen. (See Fig. 27.) 

FRENCH KNOTS— Draw the needle and thread 
through the material to the right side and take one very 
short back stitch. Hold the needle in the right hand, and 
with the left take hold of the thread near the material and 
twist the needle around the thread three or four times. 
Then put the needle down through the material close to the 
point at which it was brought up. Hold the thread firmly 
near the cloth so that it will not untwist or knot while 
being drawn through. The size of the knot will depend 
upon the number of times the thread is twisted around the 
needle. These knots make a very effective trimming on 
dresses for children. They are used chiefly in embroidery 
work. 

BUTTONHOLES — A 

buttonhole is an opening or 
slit cut in a garment to 
hold a button, and the 
edges are worked to pre- 
vent ravelling. Always cut 
it straight by a thread of 
the material when possible. 
The edges are usually bar- 
red or stranded with the 
thread or twist used in 
making the buttonhole. 
This is done by putting the 
needle in from the wrong 
side at the lower right 
hand side of the hole. 




Making a Buttonhole 
Fig. 28 



82 




Barring the End 
Fig. 29 



Draw it up through the length of the thread and carry it 
to the next end and form a bar by taking two stitches, 
then go hSiOk to opposite end and take 
two stitches. Begin working the but- 
tonhole at the corner of starting point. 
Insert the needle from the wrong side 
through the hole, and while it is point- 
ing toward you, bring the double 
thread that hangs from the eye of the 
needle around under the point of the 
needle and draw the needle through 
the loop thus formed, drawing the 
thread up tight and letting the purl 
come just to the edge of the slit. Skip 
two or three threads of the material 
and take another stitch, and so on. 

The Finished Buttonhole 

When one side is completed, take "' 

the stitches around the end in a curve 
or repeat stitches on the other side. When the last end 
is reached, in the latter case, bar the end and work the 
stitches over the bar-stitches to fasten the end of the 
thread. (See Fig. 29.) The distance 
apart and the depth of stitch taken ^ 
depend entirely upon the material, ^p 
When making buttonholes in goods S' 
that fray out easily, it is well to 
overhand each edge of the slit before 
working the hole; especially is this L -.. 
true when making a buttonhole in a 
bias piece of material. 



Tailored Buttonhole 
Fig. 31 



The tailored buttonhole has a round end to accommo- 
date the shank of the button. Mark position of button- 
hole and baste around it before cutting, so the thicknesses 
of material will not slip when the scissors are used. At 

83 




Fig. 32 



the outer end cut small openings as 
shown in the top illustration of Fig. 
32. The buttonhole should then be 
stranded, and the usual buttonhole 
stitch worked over it. The stitches 
should radiate from the eyelet like 
the spokes of a wheel. The inner 
end of the buttonhole must be barred. 
After the buttonholes are worked the 
edges should be drawn together with 
basting cotton, using an over-and- 
under stitch, then press under a 
dampened cloth. 



When working buttonholes in a lace yoke or waist, 
first baste small squares of lawn under each place where 
the buttonhole is to be worked, then cut the buttonholes 
and work them. Cut away the surplus lawn around the 
buttonholes, leaving them firm and strong. Also put small 
squares of the lawn under the yoke under each button. 

EYELETS — An eyelet is a round hole made and 
worked in a garment either for a button or cord, the 
latter being used when the garment is fastened by lacing 
it up. The eyelet is made with a stiletto or bodkin. Hold 
the hole over the forefinger of the left hand. Overcast 
it closely with buttonhole twist, drawing the stitches firm 
to tighten the edge of the hole and to keep it open. Use 
the buttonhole stitch and instead of drawing the purl to 
the edge of the eyelet, let it come to the outside, as the 
purls would soon fill the eyelet up. However, the eyelets 
may be made large enough at first to allow the purls to 
come to the edge, as in a buttonhole. 

LOOPS — A loop is used to take the place of an eye. 
Mark the places where they are to come opposite the 
hooks. Insert the needle from the wrong side and bring 
it up through the material. Make a bar of three stitches 
one over the other about one-fourth of an inch long. Work 
these closely with the buttonhole stitch from right to left, 
letting the purl come over the lower edge of the loop ; 
fasten on the wrong side. 

84 



SEWING ON BUTTONS— Use a coarse thread and 
insert the needle from the wrong side and bring it up 
through the material and into one hole of the button and 
draw it down in place. Lay a pin across the button and 
work the stitches over the pin. If there are four holes in 
the button, turn the pin a little and sew across the other 
holes. After the button is sewed on firmly, remove the 
pin and pull the button from the material as far as pos- 
sible; wind the thread around the button several times and 
pass the needle to the wrong side and take several stitches 
to fasten the thread. 

BUTTON MOULDS— To cover button moulds, cut a 
circular piece of the material and gather it around its edge 
by whipping it over and drawing the thread up, and place 
the mould inside of this. The piece must be cut small 
enough at first so that its edges will not quite meet after 
the mold is put in or it will look too bunglesome. Over- 
hand the edges together and fasten thread securely. A 
small facing may be whipped on to conceal the edges and 
stitches. 

DRAPING A WAIST. 

The construction and draping of a waist requires the 
most careful attention to every detail, but one can feel mod- 
erately sure of a good effect if sufficient perseverance be 
exercised and much care be observed throughout the en- 
tire work. 

If the waist is to have a yoke, drape it first. Open the 
under arm seams and lay the center front of waist on a 
fold of the material and cut to outline the neck in both 
front and back and make the yoke as long or as short as 
desired. The back will come out bias. If the yoke is 
wanted to open in front, lay center of back on fold of the 
material. Now place this yoke on the form and pin it se- 
curely. 

The lower part is draped next. In the draped waists 
which are generally worn at the present time, the outside 
material is not fastened in with any of the seams except 
the shoulder seams. There are instances, however, when 
the material is fastened in the under arm seams as well. 

85 



Measure the material from neck to waist line to get 
the length, then add three or four inches for fullness, and 
cut off a width from the material this length. Pin the cen- 
ter of the goods at the center of the front, placing it high 
enough so it will reach the lower part of the yoke and the 
arm hole. Push the goods straight back under the arm, 
pinning as you go; also pin at the top of the under arm 
seam. If tucks or plaits or fullness are desired, pin them 
in as you proceed. As you pin it on down on the under arm 
seam, give the goods a swing toward the front, which will 
give the seam a bias effect and leave some fullness in front, 
which may be gathered or plaited in at the waist line. 
After this is carefully pinned down, trim off the goods at 
the yoke line, in the armhole, under arm seam and around 
the bottom, leaving enough to turn up at the bottom; also 
allow for seams under the arm. If waist opens in front, 
put the selvage of the goods at the center of front, leav- 
ing enough for hems and drape one side of front, then 
remove it and cut other front by it and replace both on 
form. 

Drape the back in the same manner, placing the 
straight of the goods at the center of the back and pinning 
toward the under arm seam. Have the goods high enough 
to reach the shortest part of the yoke. Pin along at the 
yoke line and the arm hole and to the top of the under arm 
seam. If you desire tucks or plaits or fullness, pin them 
in as you did in the front before pinning it down on the 
under arm seam. If the waist is to open in the back, cut it 
down through the center; if to open in front, leave the 
back whole. Trirn the goods off around the yoke, arm hole, 
under arm seam and around the bottom, leaving enough 
to turn up at the bottom and allowing for a seam under 
the arm. Remove from form and cut the other side of the 
back just like it. Then replace on form. 

If you desire to have no yoke in the back, and want it 
draped up to the neck and shoulder, proceed in the same 
way, allowing the material to extend up to the highest point 
of the shoulder and pinning it at the neck and shoulder 
seam, and then cut it off there, allowing for a seam. Drape 
the front without a yoke in the same way. 



Now remove from the form with the lining also and 
be sure no pins fall out. Carefully baste along the front, 
around the yoke, neck, shoulders, arm holes and the under 
arm seams — both in front and back; also around the bot- 
tom. Open the shoulder and under arm seams and baste 
the outside in with the lining, turning the seams this time 
so they will be on the same side as the other seams. Be 
sure to keep the waist lines together when rebasting the 
under arm seams. Use your own judgment as to whether 
you sew the outside seams in with the lining or leave them 
separate. If the lining seems fuller than the outside, leave 
it so, but be sure there is no fullness in the outside. Turn 
the goods under at the bottom and baste it. 

Finish off the waist neatly. Use any kind of finish 
where the yoke and waist meet; either turn it under and 
whip or hem the edge down or cover with ribbon binding 
or braid. If you prefer the yoke unlined, cut the lining 
out at the yoke line. If the yoke is of lace or embroidery 
and is very thin, a lining of chiffon or net should be put 
under it. A lined yoke may come farther down than an 
unlined one. If there is to be any tucking or plaiting or 
gathering, it must be done before it is draped. If you 
have not left enough on the opening of the yoke for a hem, 
you will have to face it with itself and fasten it with small 
hooks and eyes. 

If you do not have a form on which to drape the out- 
side material and do not care to tire your patron with long 
standing, you can cut the goods by the fitted lining before 
it is stitched, allowing for all fullness and doing the tuck- 
ing or plaiting before cutting it out. 

EVENING WAISTS. 

Drape evening or low-neck waists in the same manner. 
When fitting the lining, mark on it just how low the neck 
is to be, then when draping bring the material up to these 
marks. In these waists it is a good idea to run the bones 
in the back clear to the top to keep the waist from droop- 
ing. In some instances where the material is soft and full, 
it is advisable to run a string of tape around the top on 
the inside that can be drawn to fit the wearer. 

87 



PLAIN TIGHT FITTING WAISTS. 

Cut the lining of a tight fitting waist the same as di- 
rected in Lesson 3. [f it is to have a skirt portion, draft 
the pattern below the waist as far as desired. This will 
require a hip measure, which is usually taken around the 
hips five or six inches below the waist line. Then, when 
testing this measure, if it tests out too small, trace outside 
the lines far enough to get the extra width; if too large, 
trace inside the lines. Be sure to get it large enough over 
the hips or it will draw and wrinkle there. 

After cutting the lining out and shaping it bslow tho 
waist line, lay the front on the double material wi'h front 
edge of the lining on the straight edge of the goods, and 
pin carefully, and then cut out. After all are cut, separate 
and place each piece of the lining with its corresponding 
piece of the material or goods. You will not get two pieces 
for the same side when cutting both sides at once this way 
on the doubled goods, and can cut as saving also. Occa- 
sionally, however, you will have a piece of goods that can 
be cut to much batter advantage by cutting each piece sep- 
arately. When this occurs, be sure to compare the two cor- 
responding pieces before cutting, so you will know that 
they are right, and thus avoid the danger of cutting two 
pieces for the same side. If the material has much of a 
nap, cut each piece of the waist to run in the same way; 
otherwise, by different reflections of light, caused by the 
different directions of nap, the garment may appear to be 
made of two shades of goods. It is advisable, even in ma- 
terial that has no nap, to cut each piece the same way. 

BASTING MATERIAL ON LINING. 

Lay the lining on the table and place the goods over 
it and smooth the goods over and over again and draw it 
out a little. Pin it carefully in several places around the 
edges to hold it in place, then baste it about where the pins 
are. Turn it over and baste along the waist line also. The 
idea is to get the outside drawn a little tighter than the 
lining, which will obviate all those little lengthwise wrink- 
les so often seen in a tight fitting waist. Careful judgment, 
however, must be used in the smoothing, as different tex- 

88 



tures of goods give more or less in this smoothing, which 
must always be done lengthwise of the goods. 

Join all seams together from the waist line up and 
from the waist line down, making the turn at the waist 
line decided. Pin and baste according to instructions al- 
ready given for basting the lining. If there is any un- 
evenness in any of the pieces, caused by careless cutting, 
do not attempt to full it in, but let it come out at the top 
or bottom, being sure first that the waist lines are together- 
After all the Foams are basted, cut the darts off a little 
so that when fitting the waist will set well down to the 
form; when ready to bone they can be cut off the desired 
width. 

Clip all seams at the waist line after they are stitched 
and finish them as you wish. If you bind them, be very 
careful to put the binding on loose enough so the seams 
will not draw; otherwise a perfect fit will not be obtained. 

PRESSING. 

Careful pressing is the most important part in dress- 
making. You cannot hope to attain the desired results un- 
less this is properly done. Special pressing boards may be 
purchased from dressmakers' supply houses, but home- 
made ones answer the purpose quite as well. A narrow 
iron is more preferable for pressing seams than a wide 
one, but in the average household the ordinary flatiron will 
be chiefly used. While it has long since been the custom 
to press the seams open with the point of the iron, a much 
better result is obtained by using the square end, as the 
edges of the seam are thus spread out evenly at the same 
time that the seam is pressed. Lesson 15 gives illustra- 
tion and instructions for making a tailor's cushion which 
is much used in pressing. 

Open the seams in cloth dresses and dampen with a 
wet sponge or cloth and press hard until thoroughly dry. 
Do not press velvet by setting a flatiron on it. Lay the iron 
on its side with a damp cloth over it and open the seams 
and draw them across the edge of the iron. Soft fabrics, 
such as silks, cashmeres, etc., do not require dampening. 
Do not use an iron that is too hot, as the heat takes out 

89 



the dressing and leaves the silk soft and old-looking; move 
the iron quickly and smoothly over the seams. For sleeves, 
a small sleeve board made of hard wood is used. However, 
if you have none, a broomstick or a small rolling pin will do. 

In making up goods that shrink, such as linens, duck, 
etc., it is best to shrink them before making them. Place 
them in hot water, dry and press well. Haircloth and can- 
vas should also be dampened and pressed before it is used; 
otherwise, if the dress becomes damp the haircloth and 
canvas will shrink and ruin the looks of the dress. For 
shrinking woolen materials see Lesson 15. 

On account of its springiness, woolen material should 
be slightly stretched down in length and basted more closely 
to the lining. In open-meshed goods, where the threads are 
quite prominent, great care must be used in the stretch- 
ing or the threads will be crooked. 

When basting velvet, plush, corduroy, etc., baste as 
close to the edge as possible, as the basting threads often 
break the pile or nap down and leave a mark. When 
stitching these materials, stitch against the pile and the 
Feams will show less and the goods will not push ahead of 
the presser foot. After stitching the seams, clip every 
stitch or two of the basting and remove at once. Clipping 
the basting in this way will leave the seams smooth and 
will leave no marks, whereas, if you undertook to draw 
out a long basting thread it is likely to cut the pile on 
velvets and plush and split silks. Remove all bastings from 
such materials as soon as possible. 



90 



CHAPTER VIL 



Points to take into consideration in Boning; The Various Forms of 
Featherbone; To bone dart or seams going to the shoulder, 
boning under arm seams, finishing the bones, hook and eye bone, 
three cord tape for coats, collarbone; Girdles; Drafting a Waist 
Pattern with one dart in front, under arm portion and two back 
pieces; How to fit Irregular or Disproportionate Figures; short- 
waisted, long-waisted, round-shouldered, over-erect, very promi- 
nent or very small bust; Altering for the high or low bust 
person, square and sloping shoulders, etc. 



INTRODUCTION. 

Of the many inventions of recent years of devices to 
aid the dressmaker in adding to the comfort and appear- 
ance of her customer, probably that of Warren's Feather- 
bone is the most important. Until recently, dressmakers 
were averse to using anything but genuine whalebone, but 
on account of the waning of the whalebone industry, the 
price has so advanced that it is beyond the reach of the 
majority. We now have a substitute, Warren's Feather- 
bone, which is sold by the yard, and is so much less 
expensive and more satisfactory that it is used almost 
universally. The story of its invention and the discovery 
of the many and varied places of utility in women's 
apparel awaiting its coming, will prove of interest to 
every dressmaker. 

TO BONE A WAIST. 

Important — Don't try to use Featherbone until you 
have read the instructions. 

Don't try to use Featherbone for waists without the 
boning attachment. 

Don't make the mistake of thinking that one style 
of Featherbone will do for all purposes — it will not. 




THE VARIOUS FORMS OF FEATHERBONE. 

There are as many different forms of Warren's 
Featherbone as there are uses to which it is to be put. 
There are 34 different styles of Featherbone for the dress 
alone, composed of different 
amounts and qualities of quill 
fiber, hence varying in weight 
and in the degree of flexibil- 
ity. There are 10 styles of 
covered and five styles of un- 
covered bone for the waist, 
10 styles for the collar and 
five styles for the skirt. 
There are four styles of 
Featherbone Cord for cord- 
ing, piping and shirring, and 
Crinolette for finishing, be- 
sides. 

Dressmakers should be 
acquainted with all of the 34 f«- 1 

styles to know for what kind of work each style is adapted, 
and then use the size or style of bone which will give the 
best results in the work on hand. 

As this Featherbone comes in 12- and 36-yard lengths 
and may be obtained in any quantity, there isn't a par- 
ticle of waste, because you cut off just what you need. 

All dressmakers know that the secret of a perfect- 
fitting waist is to have it properly boned. As Feather- 
bone is stitched by machine, through its center to the 
center of the seam, it becomes a part of the waist, hold- 
ing the seams permanently in place. 

Present styles call for long, straight lines for which 
Featherbone is invaluable to dressmakers. Care must be 
taken that the bone has been made straight by drawing it 
through the right hand, putting the pressure on the thumb, 
and that the seam is crowded all the way except two inches 
at the waist line, one inch above and one inch below. It is 
well to have three notches, one at the waist line, one an inch 
above, and one an inch below. Be sure to use sewing silk, a 

92 




Fig. 2 



very long stitch and medium 
size needles. All seams must 
be carefully pressed and fin- 
ished. 

Before beginning to bone a 
waist, place the straightened 
featherbone wrong side up, 
one inch beyond the presser 
foot. Have the needle in the 
center stitching. (Leave long 
;ends of silk to finish off the 
^ends of the bone. This will 
prevent the ends from coming 
untied and the bone ripping 
from the seam.) Draw the 
bone toward you, drop the presser foot, place boning attach- 
ment over bone so as to guide the bone under the needle, and 
secure the attachment in place by tightening the thumb 
screw. 

TO BONE DART OR SEAMS GOING TO THE 
SHOULDER. 
Place the waist wrong side up on the machine (as in 
Fig. 2). Begin by boning the first dart or seam going 
to the shoulder. Lay the flatly pressed open seam on top 
of the bone and boning attachment, so that the center of 
the seam is over the center of the bone. 

Place the needle down at 
whatever point the Bone is 
to be above the waist line, 
close to the seam stitching, 
but not in it; then crowd 
the seam under the presser 
foot, not enough, how- 
ever, to make a plait. 
Then lower the presser foot 
and cut the bone the length 
needed. Continue crowding 
until one inch above the 
waistline, then hold the 
waist flat to the plate of 
machine; hold it tight for 




Fig. 3 



93 



two inches, one inch above and one below the waist Hne, 
then, whatever length the bone is, crowd to the end of the 
bone. If there are two darts bone them alike. 

Under Arm Seam. Begin to bone whatever height 
the bone is to be above the waist line. Crowd the seam 
the same as the dart, to one inch above the waist line; 
then, if the model has a curve over the hip, draw the 
seam tight for two inches and spring the bone by rais- 
ing the waist back of the presser foot. 

If no spring over the hip is desired then draw the 
seam tight, hold it flat to the plate for two inches, and 
crowd to the end of the bone. At present, bones are 
used from three to six inches below the waist. 



SECOND UNDER ARM SEAM IS BONED THE SAME 
AS THE FIRST. 

The seam going to the shoulder seam and center 
back seam are boned according to the different direc- 
tions here given, as far as it is desired to carry the bone 
above and below the waist line. 

If a French back, fold 
the lining and trace it 
where the bone is to be, 
then place the traced line 
over the bone and crowd all 
the way. Do not leave it 
plain at the waist line. 

It is only the linings 
that are now boned, but if 
the outside is made up with 
the lining, follow the same 
process in boning. 

Finishing Bones (at 
the top and also at the bot- 
tom where the bones do not 
go in with the facing) . 
Thread the long ends left 
in the needle; rip the center 
stitching out of the extended bone, slip back the cas- 
ing, cut bone off" one-half inch round corners, turn casing 
over loosely one-sixteenth inch, overhand each side of the 

94 




Fig. 4 



bone, and sew across the back several times. Leave bone 
loose from waist one-half inch. Do not sew top of bone 
to the seam. 

To rip Featherbone from the waist, begin at the 
top and with a pair of sharp scissors inserted between 
the bone and the seam, run them quickly down the bone, 
cutting through the stitching. 

HOOK AND EYE BONE. 

Take off the boning attachment, lay the waist right 
side down on the machine. Have the hem opened out 
flat; place the bone inner curve down on the hem of 
waist outside the edge line, close to it, about four inches 
above the waist line. Place needle in the end of the 
bone, then cut the bone the required length. Hold the 
bone in place, keeping it close to the line, then crowd the 
waist a little, all the way to one inch above the waist 
line. Then spring the bone by holding it up and the 
waist tight, for two inches at the waist line, one inch 
above and one inch below. Crowd the remaining length 
of the bone. 

Place a second Hook and Eye bone outside of the 
first bone attached; turn the hem over to the edge line 
and stitch through each bone the length of the hem. 

Coming styles indicate separate waists, in which 
case crinolette will be very good to use in finishing ofl: 
the bottom of the waists. Turn the crinolette back so 
the cord comes on the edge and turn the edge of the 
waist up over this. It will prevent the edge from 
stretching. The crinolette can be trimmed narrow if 
desired. It is used at the top of collars and at the edge 
of the half-length sleeves, to keep them in shape. 

THREE CORD TAPE. 
A prominent dressmaker has declared that three cord 
tape has been of the greatest assistance to her as both 
a labor and time saving device. For instance, instead 
of using silk ruffles to pad a waist, fit the lining as 
loose as it needs to be, extended over the bust, stitch a 
strip of casing across the bust from armhole to arm- 
hole. Slip in a piece of three cord tape, the inner curve 
to the figure, using as much tape as the waist needs to 

95 



be extended. Then fasten at intervals with the needle. 
Do not stitch it in with the machine. It is easier for 
the draper to arrange the drapery over the lining and 
the waist does not get out of shape, as is the case with 
ruffles. 

TO BONE COATS WITH THREE CORD TAPE. 

To prevent a coat breaking between the armhole and 
the bust pad use three cord tape from the deepest curve of 
the armhole to one inch beyond the break. Have the 
inner curve of the tape on the outside of canvas or 
shrunken cambric interlining. Have the tapes one-half 
inch apart at arms eye. Spread fan shape to required 
length. Stitch each side of the tape with a very long 
stitch, using as many pieces as the size of armhole re- 
quires. 

If there is a break at the back of the armhole the 
same as at the front, the tape can be used the same 
way. Always lay a thin piece of sheet wadding over the 
tape to prevent tape showing in the pressing. 

One large establishment which has used this in 
every coat for sometime, states: "Coats are worn so 
broad across the chest that there is apt to be a break 
when the sleeves are placed in the armhole." Some fig- 
ures are very hard to fit in a coat across the shoulders. 
A dressmaker overcame this by putting a piece of inter- 
lining from the neck down to the end of the armhole, 
fitting it in with the shoulder seam, also with the sleeve 
seam. Midway between the shoulders she stitched a strip 
of casing from armhole to armhole, and then slipped 
in a piece of three cord tape, inner curve to the figure. It 
served to keep the back in place. 

Dressmakers, in making unlined waists for their cus- 
tomers, put a piece of percaline or lining silk, shield- 
shape, from the shoulder around to the underarm seam, 
then around the back to the shoulder seam. They stitch 
on pockets of Prussia binding, beginning at the deepest 
curve of the armhole, extending them out over the bust 
as far as needed, and using as many as the customer re- 
quires. This shield is adjusted to armhole. The tape 
must not extend beyond the stitching in the sleeve. In 

96 



case the customer is hard to fit, back of the armhole, these 
tapes could be used the same way. 

COLLARBONE. 

Four to six bones are used in boning a collar as 
best suit the wearer — two or three bones on a side. Be 
sure the collar bone has the curved side to the neck, 
and the collar is held slightly full on the bone, other- 
wise it is apt to bulge on the side of the collar. When 
using collar bone push back the silk cover, cut off a small 
piece of bone, then turn the stitched side straight across 
the bone. That will give a bias end. Turn the bias 
back. That will give a mitred end, preventing the bone 
from coming through. This will also support the lace 
at the top of collar. Li Paris, New York and Chicago 
dressmakers are boning their collars on the side from 
top of collar to end of yoke and down the back from 
top of collar to end of yoke. 

There is a new nearsilk collarbone that will not turn 
yellow in the laundering. 

GIRDLES. 

The Princess style, which for the past season has 
been shown by the designers, is an effect easily pro- 
duced by the skilled use of a girdle frame. One of the 
most satisfactory so-called Princess gowns shown at a 
recent opening was really a two-piece garment held to- 
gether, in design, by a wide lace girdle. The lace was 
lined with net, and the whole held smooth to the figure 
with a boning of Warren's Featherbone No. 1400. This 
bone being narrow and covered with taffeta silk, was not 
discernible through the lace. 

Number 20 girdle form, closed in the back, is the gen- 
eral favorite, as it adapts itself to so many styles. It looks 
equally as well with the long sash ends, that are being 
worn again, as finished more plainly. 

DRAFTING A PATTERN BEGINNING WITH THE 
BACK, USING ONE DART IN FRONT 
AND THREE BACK PIECES. 
In this draft an extra measure is used — a dart meas- 
ure — in order to be more specific in the drafting of the 

97 



dart line. This measure is taken exactly like the front 
measure, except it stops at the fullest part of the bust. 
In this instance the dart measure is 13 inches, and the 
other measures as given in the first lessons. Use a piece 
of paper large enough to draft both front and back. The 
lines and dots in this draft are marked to correspond 
with the other drafts as far as is possible to do so. 
Measure in one inch from the right edge of paper and 
down three inches from the top, and draw a line the 
length of back measure plus one-fourth inch, and mark 
it Line 14. While the square is in this position, draw 
Line 15 out to the left about four or five inches long. 
Make Dot K one-fourth inch from top of Line 14. Meas- 
ure up from the bottom of this line the length of under- 
arm measure and make Dot T. Dots L and are each 
made the length of one-sixth the neck measure from top 
of Line 14. Draw the neck curve from O to K. U is 
the midway point between L and T. 

Squaring on Line 14, by placing corner of square on 
T and its short edge along Line 14, measure out to the 
left and draw a line the length of one-half the entire 
bust measure and mark it Line 4. This is the bust line. 
Place Dot B at its left extremity. (See Fig. 5.) While 
the square is in this position, make Dot C at the middle 
of Line 4 ; also make Dot D one-half the width of back meas- 
ure from T on Line 4, then make Dot E midway between 
D and T. Place corner of square on B and letting its 
short edge touch Line 4 draw a line from B up to top 
of paper. Reverse square and continue the line from 
B to bottom of paper and mark this Line 1. 

From D measure to the left one-fourth of the arm- 
hole measure and make Dot J. Squaring on Line 4 at 
J, draw Line 10 about three inches long. Again squar- 
ing on Line 4, by placing corner of square on D and its 
short edge on Line 4, draw Line 13 the length of one- 
third the armhole measure and make Dot P at its termi- 
nation. Draw Line 18 from O to P, which forms the 
shoulder line. Continue Line 13 above Dot P until it 
is the length of one-eighth the armhole measure above P 
and make Dot L Squaring on this line at I, draw a line 
to the left, making it the same length as from P to I, 

95 



and make Dot S at its termination. Placing corner 
of square on U and letting long end touch S, draw a 
line from U to S and continue it until it strikes Line 
1, and mark it Line 3. Draw the armhole curve from 
S, touching Line 10 and down to C, and continue on up to 
P, touching Line 13. 

Now, measure the shoulder line from to P, and 
whatever that is, measure the same length minus one- 
fourth inch from S on Line 3 and make Dot M. This 
forms the shoulder line of the front draft. The shoul- 
der line may extend beyond P in some cases. (See 
Fig. 5.) 

From M measure to the left on Line 3 one-sixth 
of the neck measure and make Dot mm. Placing cor- 
ner of square on mm and letting its long edge touch B, 
draw a line from mm through B down to bottom of 
paper and mark this Line 1-a. From M draw Line 7 parallel 
with Line 1-a, making it the length of front measure minus 
width of back of neck. From M measure down on Line 
7 the length of one-fourth of neck measure and make a dot, 
then squaring on Line 7 from this dot to M draw a line 
across to Line 1-a, and make N at this point. Then draw the 
neck curve from N to M. 

Measure down on Line 7 from M the length of dart 
measure, minus width of back of neck, and make a dot. 
Squaring on Line 1, so that short end of square will 
touch this dot, draw Line 6 from Line 1 through the 
dot, making it five or six inches long. From Line 
1 measure on Line 6 three inches and make Dot H. 
Divide the shoulder lines of both the front and back 
equally and place dots at the division points. Draw a 
straight line from the center of front shoulder to H, 
and continue on down, making it the same length as 
Line 7. Make this Line 9 above H, and Line 11 below 
H. Place Dot F at its termination. Squaring on Line 
1-a so that end of square will touch F, draw the dotted 
line from F to Line 1-a. Mark this Line 8, as it rep- 
resents part of the front waist line. 

Next squaring on Line 14 at the bottom, draw Line 
16 to the left, making it the length of one-half the 
waist measure, plus two or three inches. Squaring on 

99 



Line 4 at C, draw a line straight down to Line 16 and 
mark it Line 5; also make Dot X at the junction of 
Lines 5 and 16. From the right end of Line 16 meas- 
ure to the left one-half inch and make Dot W, and 
draw Line 21 from W to K. Measure to the left of W 
one and one-half inches and make Dot Y. Placing A 
curve on Y, draw Line 23 up to E and continue it on 
to center of shoulder in a straight line. From Y meas- 
ure to the left one and one-half inches and make Dot Z and 
draw Line 24 from Z to E, by placing A curve on Z and 
letting armhole curve touch E. Divide the distance from X 
to Z equally, placing V at midway point. Make Dots 
R and Q each one-half inch from V and draw Line 25 
from R to D and on to armhole by placing A curve on 
R and letting edge touch D. Draw Line 26 from Q to D 
on same curve as Line 24 was drawn. Draw Line 22 
by placing A on X and letting armhole curve touch C. 
Measure to the left of X one inch and make ee and draw 
Line 17 from ee to C, like Lines 24 and 26 were drawn. 

The next step now is to test the waist line. Measure 
from W to Y, from Z to R, from Q to X, and from F 
to Line 1-a. In this instance it measures 814 inches. 
Place the 814 inch mark on square on Dot ee and meas- 
ure to the left and make a dot at the point, indicating 
one-half the waist measure, which is 12 inches in this 
case. Hold square firmly with the 8 1/1. inch mark on ee 
with right hand, and move end of square down with left 
hand until the distance from H to this point is one- 
fourth inch less than Line 11 from H to F, and make 
Dot G at the 12-inch mark. Placing A curve on ee and 
letting square touch G, draw Line 8 from ee to G ; 
also place A curve on G and let end of square touch H 
and draw Line 12 from G to H. Make a small curve 
at H, as indicated in Fig. 5, to give round effect over 
bust. Draw a straight line from G to F and on to 
Line 1-a. 

Now continue Line 14 below waist line until it is 
six inches in length, and then draw a line from W to 
the bottom of this line. Draw dotted lines straight 
down from X, V and the center of Z and Y, making 
each six inches in length, and number them Lines 27, 

100 



28 and 29, respectively. From the bottom of Line 29 
measure to the right one-half inch and make Dot aa, 
also one-fourth inch and make Dot bb. Connect Y and 
bb with a straight line, and Z and aa with a curved 
line, placing A on square on Z. Measure one-half 




Fig. 5 

inch to the right of Line 28 and make Dot cc. Draw a 
line from R to bottom of Line 28, using the A curve on 
square. Reverse the square and draw a line from Q to 
cc. From the bottom of Line 27 measure to the left- 

101 



one-half inch and make Dot ff and draw a line up to 
X, using A curve on X. Again from the bottom of Line 
27 measure to the right one and three-fourths inches 
and make Dot dd and draw a line from dd up to ee, 
placing A on ee. Squaring on the line from F to G, 
draw a straight line down from G six inches in length ; 
also squaring on dotted Line 8 at F, draw a line down 
from F, making it six inches long. Make 1-a six inches 
in length below Line 8 and connect it with this line at 
the bottom. Connect the bottom of the lines below G 
and ee, making the distance from ee to dd six inches. 
Connect ff and cc; also the end of Line 28 with aa, and 
bb with lower end of Line 14. This finishes the draft- 
ing of the back and front. Trace and cut a paper pat- 
tern, allowing three-fourths of an inch on all the seam 
edges. 

DRAFTING WITH TWO DARTS AND ONLY TWO 
SIDE PIECES IN THE BACK. 

Begin as in the other draft and outline a back 
and front, drawing Lines 14, 15, 16, 4 and 1. Also 
locate Dots 0, K, T, L, U, C, B, D, E and J, as given 
before. The Dot cc is midway between C and D. Next 
draw Lines 10 and 13, locate Dots P, I and S, draw 
Lines 18 and 3 and make Dots M, mm and N. Draw 
the neck and armhole curves. W is one-half inch from 
Line 14, and Y is two inches from W. From Z to Y 
is one and one-half inches. Line 5 is drawn straight 
down from cc and R is at junction of Lines 5 and 16. 
X is made one inch to the right of R and ee one-half 
inch to the left of R. Lines 21, 23, 24, 22 and 17 are 
drawn as in the other draft. (See Fig. 6.) Draw Line 
7 parallel with Line 1-a, making it length of front meas- 
ure, minus width of back of neck. Measure down on 
this line the length of dart measure, minus width of 
back of neck, and make a dot and mark it hh. Squaring 
on Line 1 so that one edge of square will touch hh, draw 
Line 6, making it about six or seven inches in length. 
Measure to the right of hh two and one-half inches and 
make Dot H. Draw Line 9 from H to center of shoul- 
der. Squaring on Line 1-a, so that one end of square 

102 



touches end of Line 7, draw the dotted Line 8, making 
it four or five inches long. Make Dot F one and one- 
half inches from Line 1-a, on Line 8, and placing C at 
long end of square on hh and letting square touch F, 
draw Line 25 to F. Measure to the right of F one and 




Fig. 6 

one-half inches on dotted line and make a dot and draw 
Line 26 from hh to this dot by placing C curve on hh. 
Since the back dart will be more than three inches wide, 
the distance between the two darts should be one inch, 

103 



so measure to the right of the lower end of Line 26 one inch 
and make a dot, then raise this dot one-fourth inch to keep 
the waist line from falling too far down, and draw Line 
11 from this dot to H. The next step is to test the 
waist measure by measuring from W to Y, from Z to 
X, the space between the darts and from F to Line 8. 




Fig. 7. Altering a Pattern for a Short Waist. 

In this instance it measures 71/^ inches. Place the 71/^- 
inch mark on square on ee and make a dot at the 12- 
inch mark. Holding square firmly on ee, move the end 
down gently until the distance from H to the point is 
one-fourth inch less than Line 11, and make G at this 
point. Place A curve on ee and letting square touch G, 
draw Line 8 from ee to G; also draw Line 12 by placing 
A on G and armhole curve touching H. Draw a straight 
line from G to the dot at the lower end of Line 26. 
(See Fig. 6.) Make Line 1-a six inches long below Line 8. 
From the bottom this line draw a line to the right two 
inches and then draw a line from F to the end of this line. 
Squaring on Line 8 at the end of Line 26, continue Line 26 
on down six inches. From the end of this line draw a line to 

104 



the right two inches long and then connect this with lower 
end of Line 11. Draw the other lines below the waist 
similar to instructions given for the other draft. Test 
hip measure by measuring the bottom lines and if there 
is any increase or decrease make it on the line from ee 
to dd. That is, move dd either to the right or to the 
left of its present position, and then redraw the line 
from ee to dd. Trace and cut a paper pattern, allow- 
ing for seams as given before. 

HOW TO FIT IRREGULAR OR DISPROPORTIONATE 

FIGURES. 

So many of our students are such busy dressmakers 
that they often write asking if it is really necessary 
to take the time to draft a pattern for every customer, 
especially when the measurements of many are about 
the same. If they have the "know how" of altering the 
patterns they have previously drafted to conform to the 
slight differences in the measures, then there is no neces- 
sity of drafting a pattern for each customer. Another 
problem a dressmaker has to meet is the difficult figures 
to fit. They may be classified as follows: The long- 
waisted and short-waisted, the round-shouldered and over- 
erect shoulders, the too-highly developed bust and too 
small one, the high bust and the low bust, the prominent 
abdomen or the too prominent hips, etc. 

In some instances we can alter the seams sufficiently 
and obtain a satisfactory fit, but in the majority of cases 
it is better to alter the pattern before attempting to cut 
a garment. Taking up these difliculties in the order 
given, are first, the long-waisted and short-waisted fig- 
ures. By this is meant that the figure is either very 
long or very short from the bust to neck or from the 
waist line to the bust. A person might measure in inches 
precisely what she should, from neck to waist line, and 
yet have a very long, deep bust, and a very short line 
from bust to waist. In that case a pattern which corre- 
sponded to the person's measures in inches would have 
to be lengthened in the upper part and shortened below, 
to fit her. Therefore, it is of the utmost importance that 
the front and back measures are carefully taken, as well 

105 



as the under arm measure. Compare all her measure- 
ments to those of the pattern and then make alterations 
only where needed. For instance, if the back measure 
corresponds exactly to that of the pattern, but the under 
arm measure is long or short in comparison to that of 
the pattern, the pattern must be altered at its lower part 
only. If, on the other hand, the under arm measures 




Fig. 8. Altering a Pattern for a Long Waist 

correspond and the back measure is too long or too short, 
then the upper part of the figure is out of proportion 
and therefore the upper part of pattern will have to be 
lengthened or shortened to fit. 

In some cases both the lower and upper portions of 
pattern will have to be altered, but in most figures it is 
only necessary to alter the lower part. Some women are 
long-waisted from under the arm to the waist line, and 
short from under the arm to neck. If it is found the 
pattern is too long in lower part, lay a plait across each 
section about two and one-half inches above waist line. 

106 



The size of the plait is, of course, determined by the 
difference in the measurements. If the pattern is too 
long in upper part, lay the plaits in each section half 
way between the neck and bust line. (See illustrations 
in Fig. 7.) 

The alterations for a long-waisted figure are also 
determined by comparing the back and under arm meas- 
urements of the figure and pattern. The place for altera- 
tion is just the same as for the short- waisted figure. 
Slash across each section where it needs more length, and 
separate the pieces — the amount of separation depending 
again on the difference in the measurements. (See illus- 
trations in Fig. 8.) 



THE ROUND-SHOULDERED AND OVER-ERECT 
FIGURES. 

Round shoulders make the 
back of a waist draw up until 
its waist line is far above its 
proper place and wrinkles ap- 
pear in the garment at the 
sides of the back under the 
arms. Sometimes the neck will 
drag also. To correct this, 
slash the center back straight 
across at the most prominent 
part of the shoulders and the 
side back section to within 
three-eighths of an inch of the 
seam edge. Allow the edges to 
separate as much as is neces- 
sary to remove all wrinkles and 
give a smooth, easy fit. In this 
instance it is better to use a 
cheap lining. The slashing can 
then be done after the lining is 
on the figure and just enough 
i-FOR ROUND Shoulders separation made to fit down to 
^''^- ' the figure. The separated parts 

must be pinned smoothly over some cambric or a piece of 
lining. (See Fig. 9.) Of course, if the person is just 

107 





slightly round - shouldered then 
the alteration can be made by 
slashing the paper pattern. A 
figure of this type is usually 
quite a little longer-waisted in 
back than in front. 

On the other hand the over- 
erect figure is generally shorter- 
waisted in the back and longer- 
waisted in front than the aver- 
age. The method of alteration is 
practically the same as for the 
round-shouldered, except where 
the edges are lapped instead of 
separated. (See Fig. 10.) 

THE VERY PROMINENT OR 
VERY SMALL BUST. 



Fig. 10. For Over-Erecf Figures. 



As stated in a former les- 
son, many people may have the 
same bust measure in inches, 
yet be so entirely different in 
contour that a pattern drafted 
for one would not fit the other 
at all. A broad, flat-chested 
frame ; a round, plump figure ; 
a hollow-chested, round-shoul- 
dered woman are types that 
come under this head. All of 
these may need the same 
amount of room in a lining, but 
they need it in diflferent places. 
The pattern must be altered at 
the point where it is too small 
or too large for them. For 
the large bust slash the center 
front section across at bust line 
and the side front from the bust line upward to the arm- 
hole edge. Allow these parts to separate sufficiently to 
remove all wrinkles and to give ample room over bust. 

108 




)-FOH THE PROMINENT BUST 
Fig. 11 



In this instance also it is better to use a cheap lining and 
do the slashing in the lining after it is put on the figure. 
The separated parts are held together by a piece of cam- 
bric or lining which must be carefully pinned under the 
slash. Sometimes, after slashing the lining, the side-front 
seam will separate a little below the bust to give proper 
room, or they may have to be taken in a little more to fit 
smoothly. After removing the lining, rip the seams, 
spread the pieces flat, trim the patched edges evenly and 
then cut garment by this. (See Fig. 11.) 

For the small bust the reverse 
treatment applies. The pattern 
is slashed as before, but is lapped 
over instead of separated. Do 
not force the piece in any way 
when lapping, but allow them to 
set easily, the lower over the 
upper. Pin the edges firmly to- 
gether, remove the lining and 
baste edges down. When the lin- 
ing is ripped apart it will be 
found that the lap on the side 
front has made the front edge 
uneven. It should be evened ofl" 
and kept a smooth, unbroken line. 
(See Fig. 12.) 




4 -FOR THE SMAU BUST 

Fig. 12 



When altering for the high or low bust person, spe- 
cial attention must be given to the place of slashing. 
That is, the slash must be made over the prominent part 
of bust, even though it comes above or below the average 
bust line. 

In making any or all of these changes, bear in mind 
that not only must changes be made in the lining, but 
in the other portions of the waists and coats as well. 
Because of the adaptation of the French lining to altera- 
tion, it is used here instead of the two darts in front, or 
with a curved or straight front edge. These same prin- 
ciples, however, apply to any lining. The important point 
is to slash the lining at the right place and to allow the 

109 



edges to separate or lap as much as seems to be neces- 
sary. 

Another difficulty a dressmaker is sure to encounter 
is the square shoulder and the sloping shoulder figures. 
When a lining wrinkles crosswise at the front just below 



FIG. 13 



FIG. 14 






\ 




FIG. 15 FIG. 16 

110 



the neck curve, it is an indication of square shoulders. 
The dotted lines in Figs. 13 and 14 show how to alter 
the waipt to obtain a successful fit. One must be careful 




Fig. 18. Method of Altering 

in taki;.i: off the amount, as it is quite surprising how 
much one-eighth or one-fourth of an inch alteration will 
change the lit or set of a waist. 

If the lining shows a diagonal wrinkle from the neck 
to armhole, it indicates that the shoulders are more slop- 
ing than the average. The dotted lines in Figs. 15 and 
16 show how to alter the front and back to overcome 
this problem. 

The most common aifficulty with the sleeve is its 
drawing on the upper part and also at the elbow when- 
ever the arm is raised or bent. This is caused by the 
under part being too short, or rather cut too low. If 
the sleeve is plenty long the seams may be ripped and 
the under part raised a trifle and then i'eshaped at top 
and at elbow. If not sufficiently long, then a piece will 
have to be joined on and shaped to fit. (See Figs. 17 
and 18.) 

Ill 



CHAPTER VI I L 



Shirt Waist, preparing the pattern, how to lay it on the material, how 
to mark for tucks and to put them in correctly; Fitting Shirt 
Waists, points to observe and how to correct errors, fitting the 
sleeve, marking and making changes, seams to stitch after first 
fitting; Gathering the fullness at waist line in back of waist, 
gathering the front fullness into a band, adjusting the neck 
band; Finishing the sleeve, the opening, cuff, etc.; Drafting a 
Stock Collar; Bertha Collars; Sailor and Buster Brown Collars; 
Cuffs, drafting a circular, cuff for the Bishop sleeve, for wash 
waists, lapped; Sailor Blouses; The Gibson Waist. 



SHIRT WAISTS. 

The term "shirt waist" covers a very large field, em- 
bracing the perfectly plain waists of linen, gingham, per- 
cale, etc., with a single box-plait down the front, and pro- 
ceeding through the different degrees of elaboration to the 
more costly ones of silk, lace and chiffon. Not so much 
care and skill is required in the making of a shirt waist, 
and one can easily fit herself, but a careful fitting is needed 
to make it appear "chic." 

Draft a pattern the same as given in Lessons 1 and 2 
until you come to the darts in the front and the curved 
forms or side bodies in the back, which do not draft — 
simply outline the front and back. Measure out to the left 
of the junction of Lines 1 and 8 from one to three inches 
and made a dot. (This depends on how large the bust is 
and how full you want the waist in front at the waist line.) 
Draw a line from this dot to dot N and mark it (1-a), and 
use this new line (1-a) for the front edge of the waist. If 
you want still a little more breadth across the bust, draw 
the arm hole from dot J to C with less curve. If more 

113 



fullness is desired in the back, trace Line 14 instead of 
Line 21, allowing it to extend four or five inches below 
Line 16, or waist line. 

The pattern is now ready to cut the waist material. 
If there are to be any tucks or plaits, or tucks and inser- 
tion, they must be put in before it is cut out. If you do 
the tucking on a machine with a tucker, be sure the tucker 
is adjusted right. Try it beforehand on a piece of the same 
material; if you try it on a heavier or thinner piece of 
goods the tucks will not look the same in the waist as in 
the sample. 

Place Line (1-a) on the straight edge of the goods, 
allowing for hems. Give plenty of spring over the hips 
and allow four or five inches below the waist line. Be sure 
and have both fronts just alike. Lay the tucks from the 
neck and shoulder to the bottom of the waist so as to keep 
the goods straight while cutting and the waist will not 
draw across the bust. You can stitch them as far down as 
you desire. 

Place the center of the back on a straight fold of the 
goods also, and remember to allow for all seams. When 
cutting the sleeves, be sure not to cut them the full length, 
but leave off the depth of the cuff. Baste according to 
instructions given for basting a lining. 

A great many women experience considerable diffi- 
culty in getting both sides of the waist tucked alike. 
Either the tucks will be a little narrow, the space between 
a little wider, or in the case of graduated tucks, the length 
on one side will not correspond to the length on the other. 
As stated above, all tucking should be done before cutting. 
To do this successfully, measure the length of the front 
from shoulder seam to lower edge or as long as the front 
is desired, on the material of which the waist is to be 
made. Then double this over, which will enable one to 
mark both fronts at once. Decide how far down the tucks 
are to extend and put a pin at either end, using the 
shoulder line for the center of the length; then mark 
from pin to pin. 

Figure 33 shows how to mark the material in tucks 
in clusters of three, but any number desired may be 
marked. The solid lines represent the edges of the tucks, 

114 



while the dotted hnes represent the stitching lines. The 
dotted lines connected by arrows are to be brought ex- 
actly together, having the fold or edge on the solid lines. 
First, decide on the size and distance apart of the tucks 
and make a gauge (a card with notches in it) to indicate 
the depth of tucks, the stitching line and the distance 
apart of the tucks. Place this gauge at any point selected 
beyond which the tuck is to be made and mark with 
crayon or tailor's chalk the material at the notches on the 
card, moving it gradually across the material. Fold tucks 
according to instructions given above and stitch, 

FITTING SHIRT WAISTS. 

Put the waist on and be very careful to pin the fronts 
together straight. Tie a string around the waist and ad- 
just the fullness in the back and mark where the gathers 
will be and the space they will occupy. If the tucks or 
plaits run straight of the goods, see that they set that way, 
or if they run to the front, notice if both sides are just 
alike. Notice if the waist draws across the bust; if so, 
let the fronts out at the under arm seams. The waist 
should fit quite loose across the bust. If the arm holes are 
too large, take up the shoulder seams. Be sure that the 
armholes turn a perfect curve over the shoulders; do not 
have them shorter at the shoulder seams. The effect of a 
great many waists is spoiled in this way. They give the 
sleeves a pointed effect at the top instead of the rounded 
curve they should have. 

Draw the fronts forward at the waist line and ar- 
range the gathers so as to make the waist set perfectly 
smooth under the arms. Now pull the fronts up until you 
have as much of a droop in front as desired and mark it. 
If it draws across the hips, let the under arm seams out 
below the waist line. If this does not give as much full- 
ness as is needed, leave the seams open entirely below 
the waist line. Fit plenty long in the back. The skirt is 
usually fastened to the waist at the center back, and as it 
tends to pull the waist down in the back, the neck will be 
too low in the back if not fitted long enough. The neck 
requires especial care. Do not trim it out too much; the 
neck band should fit closely, though not too snug. 

115 



• *•••• •• 



• •« ••4 •• 



••«•*••• 



5 PACE BETWEEN THE CLUSTERS 



• ♦ • « • • 



• •••••«>• 



Fig. 33 

116 



Fit the sleeve so that it is not too long at the top. 
Mark the place in the arm hole where the seam is to come ; 
also mark where the gathers begin and end. Adjust them 
to come well down in front, beginning about one and one- 
half inches from the seam and extending up over the shoul- 
der and not too far in the back. Notice the gathers at the 
wrist to see if they are arranged to give a pretty set to 




Fig. 34. Illustration Showing Tucks and Stitching in Front of Waist 

the bottom of the sleeve. Fit a strip of lining or canvas 
on the sleeve for a cuff and cut it the desired length and 
width. 

In nearly every instance the sleeves are made to ac- 
cord with the design of the shirt waist. Plain shirt waists 

117 



have plain sleeves, finished with a cuff, while more elab- 
orate waists have the sleeves either tuqked or plaited, fin- 
ished with a deep cuff of fancy design. 

Observe the waist all over very closely to see if all 
the necessary changes have been made and whether there 
are any more to make. If not, remove the waist, draw out 
the bastings and mark both sides alike and trim them, 
and rebaste. Use the French seam when stitching the 




Fig. 35. Illustration Showing Tucks and Stitching in Back of Waist 



seam. If the waist is wool or of heavy material, trim 
seams evenly and either overcast, bind or notch them. 
Leave the shoulder seams unstitched until after the second 
fitting, so in case there is any fullness to be disposed of, 
or any little readjustment to be made, it can be done with- 
out having to rip a finished seam. 

118 



Bgf!S^JSic-,^i!rf'f^';;>, 




Fig. 38. Front Fullness Gathered into a Band 



Gather the fullness at 
the waist line in the 
back, two rows being 
sufficient. These are 
stayed with a strip of 
the material about three- 
fourths of an inch wide 
and stitched all around 
on the under side. Or, 
if a tape is used to tie 
around the waist, adjust 
it in the same manner at 
the back. You can ar- 
range the gathers in the fronts the same way by stitching 
the tape to them also. Some shirt waists are not gathered 
at the waist line in the fronts at all, but allowed to fall 
free from the neck and shoulders. In this case, the tape is 
stitched on the outside at the back, over the gathers, and 
tied in front each time the waist is worn, and the fullness 
adjusted to suit the wearer. Many prefer this plan, as 
they are much easier laundered. 

When a waist is made 
of heavy material and 
full in front, it is some- 
times necessary to cut 
up to the waist line from 
the bottom at the point 
where the gathers begin, 
and the fullness gathered 
into a band. This band 
should be about one and 
one-fourth inches deep 
when finished and cut a 

little on the bias. Even ^''«- 37- Gathers at Back of Waist 

with the band, the fronts may be drawn down tight or 
pulled up to droop over the belt. Adjusting the fullness in 
a band in this manner does away entirely with the bungle- 
some quantity of material below the waist line, which in- 
terferes so often with the proper fitting of the skirt. The 
bottom of the remainder of the waist is finished with a 




119 



narrow hem. Cut the collar band just a little curved, as 
it will set up to the neck smoother than a straight band. 
Baste one edge of the band to the neck of the waist and 
stitch it; turn the other . pj^ ^^ y^plS'""''*'^'^ 

edge over the seam and Adjustment of shirt Band / 
overhand it down neatly. ^..^^.^s^"'^'^^ „ I 

If there are any # / _j4^ 

changes to be made in I I \ j " -;i 

the sleeves, make them \ 1 ■ 

now, and be careful to | 

get both sleeves alike. | " ' 

The opening of shirt , | | if 

waist sleeve varies its ' _L— ~ i H f 

position according to the 

dictates of fashion. Sometimes the opening is at the in- 
side seam and sometimes at the back of the sleeve or the 
under side. For a shirt cuff, cut an opening at the back of 
the sleeves from the wrist the desired depth. Sew an un- 
derlap to the back of the opening with the seam on the 
right side; crease the seam over on the lap and fold the 
other edge over the seam and stitch down. Join the over- 
lap to the front of the opening on the right side of the sleeve 
also. Turn down the other edge of the lap and fold over 
so as to cover the seam. Adjust the overlap so as to en- 
tirely conceal the underlap and then baste it. Stitch all 
around the overlap, keeping the point in a good shape ; when 
stitching around the point, stitch it down through the un- 
derlap so it will hold the opening in good position. Or, 
if you prefer, you can leave a small opsning at the inside 

seam. The underlap should be 

f-«f^^5^-. ^^^ „^"*'-^ about one and three-fourths 

inches wide, and the overlap 
about two inches wide, with 
one end pointed. Sew up the 
seams to the sleeves, using 
the French seam also, and 
• press them well before put- 
ting on the cuffs. Gather the 
fullness at the bottom of the 
sleeve and bind it if it is a 

Fig. 40. Over and Underlap for Shirt Cuff WOOlen Or Sllk Walst. 

120 




Baste the sleeves in the waist and then try it on 
again before stitching them in. Look the waist over care- 
fully and notice if all the changes have been made. See if 
the fullness in the fronts and back is adjusted properly, 
and if the tape or strip is on at the waist line all right, and 
note whether the sleeves are in correct position. Remove 
and stitch the shoulder seams and then the sleeves, having 
the shoulder seams turned to the front. Stitch a bias strip 
in with the sleeves and then turn the strip over the seams 
and overhand it down so there will be no "raw" seams. 

HOW TO DRAFT A COLLAR PATTERN. 

Take one-half of the neck measure and add half an 
inch to it, then make a rectangle whose top and bottom will 
each be that measure, and make the sides each four inches 
long, and number these lines 1, 2, 3 and 4, respectively. 
(See Fig. 41 accompanying this lesson.) This will make a 
draft for a collar two inches wide. When drafting for a 
wider one, make the sides of the rectangle twice the width 
you wish the collar to be. Using the neck measure given in 
the first lesson — 12 inches — one-half of twelve is six inches ; 
adding half an inch, according to instructions given above, 
makes six and one-half inches long to draw the top and 
bottom of the rectangle ; make each end four inches long. 

Find the midway point of Line 3 and make dot A — 
the depth of the collar in front; also make dot B at the 
midway point of Line 4, and make dot C at the junction 
of Lines 2 and 3. On Line 1, one inch from Line 4, make 
dot D and connect dots B and D by a straight line. Now 
draw a slight curve from dot A to dot D ; also one from 
dot C to dot B. By measuring from dot C to dot B, you 
will find that it is about one inch longer than from dot 
A to dot D ; this being one-half of the collar, it will make 
two inches difference in the whole collar, which is the 
correct proportion. You can use the lower part of this 
collar to cut a shirt waist neck band. 

When cutting this collar for back opening, lay the 
edge from dot A to dot C on the fold of the goods, and 
allow for turning under on all edges. Interline with 
canvas ; baste the material on the canvas and turn all the 
edges over the canvas and baste them. If you want the 

121 



LINE 4 




eiNii 



122 



collar stitched any it should be done now; then press and 
line with silk or some soft material. 

BERTHA COLLARS. 

Cut a bertha or cape collar on the same principle as 
the Sailor collars given below, only hollow it out in the 
neck to the desired shape, and make the bottom either cir- 
cular, square, scalloped, pointed in the front, back and 
shoulders, or any fancy shape desired. You may use the 
front and back drafts to cut these different collars by, 
provided there were no changes made in the neck and 
shoulders when fitting the waist that was cut by same 
drafts, but if there were changes made, it is 
a better and safer plan to cut by the waist. 

SAILOR AND 
BUSTER BROWN 
COLLARS. 

The Sailor and 
Buster Brown Collars 
are easiest made by 
arranging the front 
and back as in Fig. 
42, leaving a space of 
one-fourth inch at the 
neck and one - half 
inch at the armhole. 
This is done to allow 
extra room over the 
shoulders, as the col- 
lar must fit a little 
looser than the waist. 
The length from A to 
B depends on the 
depth of collar de- 
sired. The line from 
B is drawn straight 
across the back and 
extends one inch be- 
yond the armhole. 
Follow the armhole 
curve over to the 




Fig. 42 



123 



LINE I 



FIG43 




LINE 2 



124 



front as far as you wish and then down across the 
bust to a point in front as far down as desired. If 
a V shape is wanted, draw a hne from the shoulder to 
this point. (See Fig. 42.) 

The dotted line represents how the Buster Brown 
Collar may be drawn. When cutting from material lay 
the center back on a fold in each instance. 

CUFFS. 
DRAFTING A CIRCULAR CUFF. 

First, measure the hand around the thickest part with 
the thumb held inside of the hand. This measure should 
be taken as snug as can be drawn over the hand, then one 
inch added to that measure. This one inch will allow for 
seams and the room the canvas will take up. 

Take one-half of this measure and add two inches to 
it and draw a rectangle whose top and bottom will each 
be this measure, and whose sides will be six inches. Num- 
ber these lines 1, 2, 3 and 4, respectively. (See Fig. 43, 
accompanying this lesson.) 

Make a dot two and one-half inches on Line 1 from 
Line 4 and mark it dot E; also make a dot down on Line 
4 two and one-half inches from Line 1 and mark it dot F. 
Connect dots E and F by a straight line. Now make a dot 
down on Line 3 one and one-half inches from Line 1 and 
mark it dot G; also make dot H at the junction of Lines 
2 and 3. 

Draw a curved line from dot G to dot E. Begin at 
dot H and draw a curved line following Line 2 about one 
inch and then curve on up to dot F. This is just one- 
half of the cuff pattern ; when cutting a cuff of the mate- 
rial, place the line from G to H either on a straight length- 
wise fold, or on a true bias. These cuffs are interlined 
with canvas and finished off the same as given in the 
following pages. 

When attaching the cuff to the sleeve, place the mid- 
dle of the cuff or dot G at the inside seam of the sleeve. 

125 




Fig. 44 J 

Straight Band Hemmed to Opening in tlUWll. 
Bishop Sleeve 



This is a curved cuff with a narrow back; if the cuff is 
wanted even in depth all around, measure the shortest part 
of the cuff in depth and finish the bottom from this point. 
(See dotted line in Fig. 43.) 

The cuff for the bishop sleeve may be fixed in this 
manner; either cut an opening or leave the inside seam 

open two or three inches. Finish 
this opening by sewing a straight 
strip of the material clear along 
both edges of the opening, having 
the strip equal in width its entire 
length. Turn the other edge over 
to cover this seam and stitch it 
When the cuff is attached to 
the sleeve, turn under the band or 
strip just sewed on at the upper or overlapping edge of the 
opening and extend it on the under side to form an underlap. 

Cut two pieces for each cuff, and an interlining of 
crinoline or coarse muslin that will 
hold starch when laundered may be 
put in between the two pieces. Baste 
the interlining to the wrong side of 
one piece, then baste the second piece 
right over this, the right sides of the 
material facing each other. Stitch 
along both ends and one side. Trim 
the seams close at the corners and turn 
the cuff and baste around the seamed edge. Sew the cuff 
portion to which the interlining was basted to the edge of 
the gathered sleeve, allowing the seam to turn toward the 
inside; turn under the edge of the other or inner cuff 
piece and baste it to the sleeve so as to cover the first seam 
made, and then stitch, or you may stitch the first seam 
and then whip the other edge over it. 

126 



fW 




Fig. 45 
Caff Basted to Sleeve 



If the opening is made at the inside seam, a plain cuff 
may be put on the sleeve 
before the seam of the 
sleeve is sewed up. No lap 
or facing is necessary; the 
edges of the seam are 
hemmed. Baste one edge 
of the cuff to the sleeve 
and stitch it; also stitch 
the sleeve seam. Turn the 
other edge of the cuff in 
and whip down over the 
seam. Finish the opening 
firmly with a buttonhole 
bar so the seam will not 
rip. 




Fig. 46 

Sleeve with Lapped Cuff, Opening at the 

Underside 



SAILOK BLOUSES. 

Use the drafts as made for a shirt waist and extend 
Line 5 straight down to a point about six inches below 
the waist line or Line 8 ; make a dot four inches to the 
right of the end of this line and draw a line from the new 
dot to dot D; this gives a new Line 5. Extend the line 
(1-a) — given in shirt waist instructions — draw one inch 
farther down than the new Line 5 and draw a line from the 
end of Line (1-a) to the end of the new Line 5. 

Extend Line 22 in the back six inches below the waist 
line or Line 16, and make a dot two inches to the right of 
this and draw a new Line 22 from this dot to dot R. Ex- 
tend Line 14 six inches below Line 16 and draw a line from 
the end of this line to the end of the new Line 22. 

The pattern is now ready to cut a blouse. Place Line 
(1-a) on the straight of the goods and allow for hems; 
place Line 14 in the back on a double fold of the goods. Do 
not use the darts in front or the curved forms in the back. 
Cut, baste and then fit. It must fit very loose over the bust. 
The fronts may be hemmed with a plain hem or a plait put 

127 



on as directed for a Gibson waist. Fasten it in any mode. 
Hem the bottom of the blouse and run a rubber the size of 
the waist measure in the hem. A tape may be used instead 
of the rubber. Use the sailor collar on a blouse. The blouse 
and collar may be made V-shaped in front by cutting each 
that shape and wearing a chemisette under the blouse, 
which can be easily cut by the front and back drafts to fit 
the neck, and the lower part shaped as desired. 

THE GIBSON WAIST. 

The Gibson waist is simply a tailored waist with a 
deep tuck or plait over the shoulder, which is usually 
stitched down the entire length at the back, but only to 
yoke depth in front. The size of tuck or plait varies, of 
course, to suit one's taste. 

After drafting a plain shirt waist pattern by the re- 
quired measurements decide just where the edge of this 
plait is to come at the shoulder, the waist line in back and 
front, where it is stitched or laid in, and slash the pattern 
accordingly. It will also be necessary to decide the depth 
of the plaits so that when stitched they will not overlap 
or appear closer than intended at the waist line in back 
of waist. 

We have taken for example a model where the plait 
at the shoulder will come an ordinary seam's width from 
the armhole after waist is finished, a plait one inch wide 
all the way to waist line, the edges of the plaits at waist 
line in back being three inches apart. To start with make 
a dot on the plain back and front draft at shoulder about 
three-fourths of an inch from the armhole; measure along 
waist line from center back one and one-half inches and 
along waist line from center front, four inches, in this 
case, and connect the points. (See Fig. 47.) 

Slash the pattern along these lines and, keeping the 
portions on a straight line at shoulder, spread them twice 
the width the plait is to be, or two inches in this instance. 

128 



(See Fig. 48.) In some models they are narrower as they 
approach the waist line and in such cases spread the 
slashed portions less at the bottom than at shoulder, de- 
pending upon the difference desired. 




Fij. 47 



The positions of these portions, as described above, 
may apply to the making of a new pattern or may be 



129 



pinned on the material and marked. If there are other 
tucks they are made first. 

Trace along the shoulder line and all the outer edges 
of the portions, making allowances as instructed in pre- 




rig. 48 

vious lessons, also trace along the inside edges of the 
slashed portions, which mark the edge of the plait and the 

}30 



line to which it is to be brought in forming it. Make an 
allowance on the fronts according to the width of plait 
and hem desired. 

Since this tuck is continuous from one end of its 
stitching to the other, after cutting, join the shoulder 
seam, pin the tuck into position without in any way 
stretching the material and baste, join underarm seams 
and try on. Make any alterations necessary, unbaste plait 
far enough to stitch shoulder seam, then rebaste plait 
across shoulder and stitch into position. 

In this case there is an allowance of three inches 
made on the right front for the plait (see long arrow- 
head line in Fig. 48), making it one and one-half inches 
when in position (see short arrowhead line for width of 
plait). Also make seam allowance on front edge when cut- 
ting. One and one-half inches and a seam will be sufficient 
allowance on left front for a hem, as allowance for plait 
and hem should be such that original front lines will meet 
when waist is fastened. The width of them and the style 
of front closing may be varied as wished. 

To form plait shown in illustration baste along its 
edges which are iridicated in Fig 48 by the dotted lines. 
Next, letting the seam allowance lay out flat, bring the 
lines marked by the long arrowhead line together and 
stitch or fell into position. If stitched, the stitching will 
come in the center of the plait and no stitching on the 
edge of the plait will be necessary to hold it in place. 

Another method of forming the plait on the right 
front after three inches have been allowed, is to first 
fold the edge under one and one-half inches. Now to com- 
plete the plait crease on Line 1-a (Fig. 48). After forming 
the crease or fold it will be seen that the front edge of the 
waist fits right into it. Baste one-half inch in from the 
crease to form a tuck, so that this under edge cannot pos- 

131 




Fig. 49 

Plait Showing How to Catch Under Edge 

into Tuck 



sibly slip out when it is stitched. 
(See Fig. 49.) There are two 
rows of machine stitching on 
this plait. Each one is one- 
half inch from either fold or 
edge. This distance can be 
changed, however, to suit one's 
taste. Whatever is used must 
be allowed on the left front so 
that it will make up the amount 
taken off of the right waist 
front. When stitching these 
rows be very careful to keep 

them even. Do not use too long a stitch, too coarse a 

thread, or too loose or too tight a tension. 

Usually the left front is not cut so wide as the right 
front because there is no plait but a plain hem. This hem 
must be wide enough to come to the last row of stitching 
in the plait, in this case one inch. 

Occasionally both fronts are cut just alike and the 
left is simply turned under twice, making three thicknesses 
of material on which to sew the buttons. This is all right 
for thin materials, but it would be too bunglesome in 
heavy weight goods. Buttonholes are worked lengthwise in 
the center of the plait, or the fronts can be fastened to- 
gether by fancy pins, leaving off the buttons and button- 
holes. 



132 



CHAPTER IX. 



Skirt Measurements; Waist; Around the hips; Length of dart; Length 
of front; Length on side; Length of back; Use of square in 
skirt drafting; Relative proportions of gores; Draxting top part 
of skirt; Testing hip line; Constructing the waist line; Testing 
waist line; Drawing dart lines; Inverted plait; Extension of 
gores below the hip line. 



NOTE. 

(Proceed as in the first, second and fourth lessons; 
that is, first study the lesson with the draft before you for 
comparison; second, using the same measurements, maka a 
draft exactly like the one accompanying this lesson ; third, 
we advise that for practice you make at least ten other 
skirt drafts from that many different sets of measurements. 
Use the accompanying measure blank in which to record 
them; fourth, answer the questions and send them to us 
for correction and grading.) 

SKIRT MEASUREMENTS. 

The American System uses the following six measure- 
ments in skirt drafting: First, waist; second, around the 
hips; third, dart length; fourth, length in front; fifth, 
length on side ; sixth, length in back. 

To take the skirt measures : First, measure around 
the waist at the waist line, drawing it snug. (See line 3, 
Figs. 1 and 2, Lesson 1.) Second, measure around the 
fullest part of the hips about five or six inches below the 

133 



waist line. (See Line 14, Fig. 1, Lesson 1.) Third, place 
the end of the tapa line at the waist line at the side and 
measure down to the fullest part of the hip. Fourth, 
place the end of the tape line at the waist line in front 
and measure down to the floor, allowing the tape line 
to touch the floor two or three inches in front of the 
feet. (See Line 15, Fig. 1, Lesson 1.) Fifth, place the end 
of the tape line at the waist line on the side and measure 
down over the largest part of the hip and on down to the 
floor. (See Line 16, Fig. 1, Lesson 1.) Sixth, place the 
end of the tape line at the waist line in the back and meas- 
ure down to the floor, allowing the tape line to swing out 
from the feet a little farther than in front. (See Line 17, 
Fig. 2, Lesson 1.) If the skirt is to have a train, this meas- 
ure will have to be taken as long as the train is desired 
to be. 

The measurements used in this lesson in making the 
draft are as follows: Waist, 24 inches; around the hips, 
40 inches; dart length, 6 inches; front length, 40 inches; 
side length, 41 inches; back length, 41. 

As the seven-gore skirt is very popular at all times, and 
since it is quite easily made, we will use it in this lesson, as 
a foundation basis to work from and gradually develop other 
types in succeeding lessons. 

In making the skirt draft, which accompanies this 
lesson, the instructions read to draw Line 1 the length of 
one-sixth of one-half of the hip measure. The hip measure 
in this draft is 40 inches. Instead of having to stop to com- 
pute 1/6 of 1/2 of 40=3 1/3, simply mark on the scale of 
sixths opposite the mark representing one-half the hip 
measure, or 20, which is 3J on the scale of inches. Like- 
wise, in marking for the hip line of second gore, instruc- 
tions read to draw Line 5 one-third of one-half the hip 
measure; therefore, simply mark on the scale of thirds 
opposite figure representing one-half of hip measure, or 
20, which by measuring from the corner of the square to 
this mark is 65 on the scale of inches, that is ^ of | of 40=6f. 

RELATIVE PROPORTIONS. 

The draft accompanying this lesson represents the top 
of one side, or one-half of the skirt draft. The right edge 

134 



of the paper from E on down represents the center of the 
front gore, therefore only one-half of the front gore is illus- 
trated on draft. The width of the front gore at the hip line 
is one-sixth of one-half of the hip measure. The width of 
the first side gore at the hip line is one-third of one-half of 
the entire hip measure; the width of the second sid3 gore 
at the hip line is also one-third of one-half of the entire 
hip measure. The width of the back gore at the hip line 
is one-sixth of one-half the hip measure. In proportioning 
the width of tha gores at the hip line, they are made so that 
they will be equal with the exception of the back gore. 
There are two of these gores and the width of the two at 
hip line is equal to each of the others. Then the width of 
one of the back gores or Line 13, together with the width 
of one-half of the front gore or Line 1, which is represented 
on draft, form one-third of this half of the skirt. The 
first and second side gores form the other two-th'rds. This 
is why we draw Lines 1 and 13 the length of one-sixth of 
one-half of the entire hip measure, because one-sixth is one- 
half of one-third. 



DRAFTING TOP OF SKIRT. 

Measure down from the top of paper on its right edge, 
fifteen inches and draw to the left a horizontal lin^, by 
placing the FACE of the square down, with the corner and 
short end on the edge of the paper. As the width of the 
front gore is one-sixth of one-half the hip measure, and 
since the hip measure is 40 inches in this draft, the length 
of Line 1 will be 20 on the scale of sixths, which by testing 
is found to be 3^ on the scale of inches. 

From the left end of Line 1 draw a straight line down 
six inches long at a right angle with Line 1 and mark 
this Line 2. This is done by placing corner of the square 
on left end of Line 1 and letting the short end of square 
touch Line 1 and drawing Line 2 by the long end of square 
until it is 6 inches long. In future lessons, for conven- 
ience we will call this process "squaring" on a line. From 
the lower end of Line 2 draw a line to the left one-half inch 
long at a right angle with Line 2 and mark it Line 3. This 
is done by squaring on Line 2 or placing the square so that 

135 



its short end will touch Line 2 and its long end will extend to 
the left. (See draft.) 

Now, with the square touching the left end of Line 3, 
also junction of Lines 1 and 2, draw a straight line, letting 
it extend about six inches above Line 1 or hip line, and about 
10 or 12 inches below Line 1, and mark this Line 4. 

Next square on Line 4, or place the corner of the square 
at junction of Lines 1 and 4, and let the short end of square 
touch Line 4, and draw a line by the long end from the 
corner, the length of ;J of | of the hip measure, which 
is the width of the first side gore at the hip line. Mark this 
Line 5. Since the hip measure in this draft is 40, the length 
of Line 5 will be twenty on the scale of thirds. (See draft.) 

Line 6 is now drawn just like instructions given for 
drawing Line 2. Draw Line 7 according to instructions 
given for drawing Line 3, only make it % of an inch long, 
then draw Line 8 just like Line 4, and the same length. Now, 
square on Line 8, or place the corner of the sciuare at junc- 
tion of Lines 5 and 8, and let the short end of square touch 
Line 8, and draw a line to the left from the corner of square 
the same length on the scale of thirds as Line 5, and mark it 
Lme 9. This is the width of the second side gore at the hip 
line. (See draft.) 

Draw Line 10 similar to Lines 6 and 2 and draw 
Line 11 similar to Lines 7 and 3, making it one inch in 
length; also draw Line 12 similar to Lines 8 and 4. 
Square on Line 12, or with the corner of square on junction 
of Lines 9 and 12, and the short end touching Line 12, draw 
a line the same length as Line 1 (one-sixth of one-half of the 
hip measure) and mark it Line 13. This line will also 
come to twenty on the scale of sixths. This is the width of 
the back gore at hip line. Draw Line 14 like Lines 10, 6 
and 2 were drawn, and make Line 15 the same length as 
Line 11. Draw Line 16 according to instructions given for 
drawing Lines 12, 8 and 4, only make it about six or seven 
inches long above the hip line. (See draft.) 

TESTING HIP LINE. 

This completes the hip line for one-half of the skirt 
draft, which is represented by Lines 1, 5, 9 and 13. The 

136 



next important step is to test this line. It should measure 
twenty inches as the entire hip measure is 40 inches. To 
do this place the square, face down, with its corner on 
the right end of Line 1 and its short end on edge of paper 
below hip line and the long edge along Line 1. Place the 
fore-finger of left hand on square at left end of Line 1, 
and hold very firmly while with the right hand swing 
square up gently until it reaches Line 5. See to it that it 
does not slip backwards or forwards. Before releasing 
right hand from the square, place the fore-finger of left 
hand on square at left end of Line 5, and move it upward 
with the right hand until it touches Line 9. Before releas- 
ing right hand, place left fore-finger on square at left end 
of Line 9, and move square as before until it touches Line 
13. The twenty-inch mark on square should come exactly 
to end of Line 13 if the drafting and measuring have been 
properly done. 

If the measure and draft do not correspond the first 
time, test them again to be sure the square did not slip 
backwards or forwards, and if it tests incorrectly the sec- 
ond time the probabilities are that the fault is in the draft- 
ing, therefore go back to the first again and test each line 
separately. That is, test Line 1 to see if it is one-sixth of 
one-half of the hip measure. If it is correct its left end 
will come to the twenty mark on the scale of sixths. Then 
measure Line 5 by testing it just like instructions for draw- 
ing it, placing the corner of square at junction of Lines 1 
and 4, with the short end of square touching Line 4. You 
will recall that the length of this line should be one-third of 
one-half the hip measure, and if it is correct the left end 
of Line 5 will come exactly to the twenty mark on the scale 
of thirds. Move square to the left and test Line 9 just like 
Line 5 was tested. It should be the same length as Line 5, 
and its left end should also come to the twenty mark on the 
scale of thirds. Move square to the left and test Line 13. 
It should be the same length as Line 1, and its left end 
should come to the 20 mark on the scale of sixths. 

CONSTRUCTING THE WAIST LINE. 

When the hip line corresponds exactly with the meas- 
ures taken, the next step is to locate the vv^aist line and to 

137 



take out the darts or difference between the waist and hip 
measures. The length of all the gores from the hip line to 
the bottom must be the same, the difference in the lengths 
coming above the hip line. The position of point D is 
always determined by the length of the dart above hip line. 
The length of the hip dart in this case is six inches. So 
locate the waist line at the side by measuring up six inches 
from the hip line on Line 8 and mark point D. Since the 
distance from the hip line to waist line is 6 inches on Line 
8, and since all the gores must be equal length below hip 
line, this would leave thirty-five inches in this instance for 
length of gores below hip line. Next locate the waist line 
at the center of front gore by taking the difference between 
the entire front and length below hip line. Since its length 
below hip line is 35 inches, and its entire length is 40 
inches, the length from hip line to waist line must be 
five inches. So measure up from the right end of Line 1 
five inches and make point E. Now locate the waist line 
on Line 16 by taking the difference between back and side 
skirt lengths. In this case it is nothing, since the entire 
length of the back and the side measures are the same, 
Lines 8 and 16 will of course also be the same length above 
the hip line as well as below. Then measure up six inches 
from hip line on Line 16 and make point F. Now to locate 
the waist line on Line 4, place the A mark on square on 
the D point on draft, having face of square up and curved 
edge toward hip line or lower part of skirt. Hold it 
in place here with one hand while with the other hand 
move square up to touch point E. Holding square firmly 
in position make a point on Line 4, just where square 
touches it, and mark this point G. To locate the waist 
iine on Line 12, place the A mark on square on the D 
point on draft, having face of square down. Hold in 
position at this point and move square until its edge 
touches point F. Make a point on Line 12 where the 
square touches it and mark the point H. This gives five 
points — D, E, F, G and H — from which to work to take 
out the darts or difference between waist and hip meas- 
ures. 

Make a slip knot in a piece of wrapping cord or twine 
and place point of pencil through loop and draw the knot 

138 



up close to pencil. Now place the point of pencil on 
G, and placing forefinger holding cord on junction of 
Lines 1 and 4, swing pencil back and forth about two 
inches each way, making the curved Line 17 about 4 inches 
long. Be very careful not to let the cord slip or youi 
markings will not come in the same place each time. 
Make the curved Lines 18 and 19 in the same manner. 
(See draft.) 

Now a very important step is to measure the waist line 
to see how much is to be taken out. Place the corner of the 
square with its face up on point E. Hold it firmly there 
and move the square so its edge will touch dot G. Hold it on 
G with forefinger of right hand and gently move the 
square with the left hand so its edge will touch point 
D on draft. Remove right forefinger now to D and 
move square until its edge touches F, and while in this 
position mark the point representing one-half of waist 
measure. The waist measure in this case is 24 inches, 
one-half of this is 12. Make a dot on draft where the 
12-inch mark comes. Lift the square and measure from 
the dot just made to point F, which will give the amount 
to be taken out in darts. As a rule a little less than 
one-half this amount should be taken out in the dart that 
comes over the hip and a little less than one-half of the 
remainder should be taken out of the front dart or at Lin 9 
4, and the balance out of the back dart or at Line 12. In 
this draft there are five inches over the original measure of 
half the waist (12 inches) to be taken out in the darts. One- 
half of five is two and one-half inches, therefore ths side 
dart is made two and one-fourth inches wide, which 
is a little less than one-half. This leaves two and three- 
fourths inches to divide between the front and back darts. 
The front dart usually is a little smaller than the back dart, 
so use one and one-fourth inches for the width of the front 
dart, and the remainder, one and one-half inches, for the 
back dart. When taking out the darts always take off a lit- 
tle more from the bias side of the gore than from the 
straight side. In the seven-gore skirt make one-fourth inch 
difference. 

Since two and one-fourth inches are to be taken out at 
side dart or Line 8, measure one inch to the left from point 

139 



D on the curved Line 18 and make point I; also measure 
one and one-fourth inches to the right of point D and make 
point J. Now take out the front dart, which is one and one- 
fourth inches, by measuring one-half inch to the left from 
point G, and make point K on the curved Line 17; also 
measure three-fourths of an inch to the right of point G 
and make point L on the curved Line 17. Next take out 
back dart, which is one and one-half inches, by measuring 
five-eighths of an inch to the left from point H, and make 
point M ; also measure seven-eighths of an inch to the right 
of H, and make point N on the curved Line 19. (See 
draft.) 

TESTING WAIST LINE. 

Now measure up waist line outside of these points just 
made to be sure it is correct. Place the corner of square, 
with its face up, at point E and measure to L. Place fore- 
finger of right hand directly on the mark on square where 
it touches L and move square with left hand until the mark 
upon which forefinger is held is directly on K, and measure 
from K to J. Again place forefinger of right hand direct- 
ly on the square where it touches J, and move square with 
left hand until the place upon which forefinger is, is 
directly on I. From I measure to N. Then move square 
as before and measure from M to F. This should measure 
12 inches. If it does not correspond, test it over again 
carefully and notice that the square does not slip either 
backwards or forwards. If it is still incorrect the error 
is probably in taking out the darts, and they will also 
have to be tested. Measure from I to J, which should be 
two and one-fourth inches; also measure from K to L, 
which should be one and one-fourth inches, and then from 
M to N, which should be one and one-half inches. (See 
draft.) 

DRAWING DART LINES. 

When the measure and draft correspond, put in the 
lines which form the darts, and also outline the gores from 
the hip line to waist line. Since the largest dart is taken 
out at the side or directly over the largest part of hips, and 
since a little more is taken off the bias side of gore than off 
the straight side, the greatest amount will then come off the 
back edge of the first side gore. Place the face of square 

140 



down with A on square on the junction of Lines 5 and 
8, and let the edge of square just touch point J, and draw 
a Hne from hip line to J and mark it Line 22. Next 
reverse the square by placing its facs up and connect point 
I with hip line so that this line will not touch Line 8 until 
it reaches the hip line. Mark this Line 23. (See draft.) 

Connect hip line with point L by placing the face of 
square down, and drawing Line 20 from curve made by plac- 
ing A curve on square about one-half inch below hip line or 
junction of Lines 1 and 4, and having edge of square touch 
L. Place C curve on square on junction of Lines 1 and 4, 
and let the edge of square just touch point K on draft and 
draw Line 21. Next draw Lines 24 and 25, according to 
instructions, connecting hip line on Line 12 with points N 
and M. Place C curve on square about one inch above N 
on draft and draw Line 24. Place C curve on square at 
junction of Lines 9 and 12, and let the edge of square just 
touch point M on draft and draw Line 25. Carefully 
observe in every instance that these curved lines do not 
touch the perpendicular lines until they reach the hip line, 
except where the curves are very slight, and even in this 
case do not allow them to touch the perpendicular lines more 
than one-eighth of an inch above the hip line. If this is 
not observed the dart will be shortened, which will make 
the fitting difficult. This can be avoided by moving the 
curved side of square up and down until a place is found 
by which the curves can be drawn without touching the 
straight lines. 

Now draw curves for the waist line or top of each gore. 
Draw a line connecting E and L by placing A on square on 
E on draft, and mark this Line 26. Lift square and place 
A on square about midway between points J and K and 
draw a line connecting K and J, and mark this Line 27. 
Connect I and N in the same manner, with A on square 
about midway between them, and mark it Line 28. Con- 
nect M and F by placing A on square on F on draft and 
make line and mark it Line 29. (See draft.) 

INVERTED PLAIT. 

This completes the upper part of the draft for a seven- 
gore skirt ready to extend to full length, with the exception 

141 



of the inverted plait on the back, in case one is desired. 
This plait is usually made four inches wide at the waist 
line. Measure down 6 inches from top of Line 16 and make 
a point. Place the corner of square on this point with its 
short end touching Line 16, and draw a line four and three- 
fourths inches long and mark it Line 30. Now draw Lines 
31 and 32 by placing square, face down, so that its edge 
on short end will touch F at the four-inch mark and its 
edge on long end will touch left end of Line 30. Begin at 
F and draw a line to corner of square and mark this Line 31. 
From corner of square draw a line down below Line 30 
about ten or twelve inches and mark this Line 32. By creas- 
ing draft on Line 16 and folding it back so that 
Line 16 will come directly on Line 32, it will give 
correct position of the inverted plait. While it is 
still in this position, run the tracing wheel along on Line 

29. Unfold and it will be observed that the middle of the 
plait does not extend up quite far enough. Therefore ascer- 
tain and mark the center of Line 31 and raise the plait as 
far above Line 31 as the tracing indicates by placing cor- 
ner of square on the center mark and its lower edge along 
Line 31. Draw a line the desired length and mark it Line 
33. Draw Lines 34 and 35 by connecting the upper end of 
Line 33 with point F and top of Line 32. 

In adding the inverted plait to the back, always meas- 
ure down 6 inches from waist line on Line 16 to locate Line 

30, which in different measurements it will be observed 
will not bring hip line in back gore the same distance below 
waist line as Line 30, as in these measurements. Line 30 
is drawn three-fourths of an inch longer than Line 31 in 
order to give the plait flare at the bottom. If a narrower 
plait is desired, draw Line 30 shorter and Line 31 three- 
fourths of an inch shorter than Line 30. Likewise if a 
wider plait is desired, increase in the same proportion. 

EXTENSION OF GORES. 
The gores are now ready to be extended the full length. 
As stated in the beginning of the lesson, they are all the 
same length from the hip line to the bottom. The entire 
side measure in this case is 41 inches. Since the dart length 
above the hip line is 6 inches, the gores will all be 35 
inches from hip line to bottom. Beginning at the front 

142 



edge of paper measure down 35 inches from the right end 
of Line 1, and mark it. Also extend Lines 4, 8, 12, 16 
and 32 until they are each thirty-five inches in length. 
Since the gores are so wide at bottom, the best way to se- 
cure a pretty bottom line is to divide each gore into thirds 
by slight marks. Make these divisions in about three 
places — at hip line, half way down the langth of gore and 
near the bottom. (See Fig. 50.) Now measure from the 
hip line to these marks and make a small mark at bottom 
where the 35-inch mark on yard stick comes. Then con- 
nect these points at the bottom between the lines, marking 
the bottom line by a slightly curved line such as the curve 
on square from C to B. 

Before drawing the bottom outline for the inverted plait, 
fold the draft back on Line 16, seeing to it that Line 16 
comes directly over Line 32 all the way down, then with the 
tracing wheel begin at bottom of Line 16 (that is, at bottom 
of line where the draft is folded) and trace along the bot- 
tom outline of skirt until the tracing extends across the 
folded plait. Unfold draft and mark bottom outline of 
plait on tracing, otherwise the skirt will not hang evenly 
at the bottom across the plait. 

When taking skirt measurements, always observe in 
particular the build or form of the person. You may take 
the measures of two persons who have the same waist and 
hip measures, and yet their forms be entirely different; 
one may have a large, full stomach and be flat on the hips, 
while the other may have a flat stomach and very round 
hips. Thus the skirt drafting for these two persons would 
be quite different. As a rule the largest dart is on the side 
over the hip. In the model draft the next largest dart is 
in the back, and the smallest dart in front, but in a form 
that is flat in the back and with large stomach the largest 
dart would be placed over the hip, the second largest in 
the front and the smallest in the back. 

Note — As stated in the beginning of this lesson, the 
seven-gore skirt draft for which we have just given in- 
structions is used only as a foundation basis ; therefore, do 
not cut an outside skirt until you have learned how to add 
fullness to the bottom of this draft. Instructions for this 
will be found in a later lesson. 

143 




FIG. 50 



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145 



CHAPTER X 



Cutting the Skirt; Notching the Gores; Basting the Skirt; Fitting the 
Skirt; Stitching; Finishing the Bottom; Applying Velveteen; 
Putting on Braid; Lined Skirts; Walking Skirts, finishing the 
bottom, pressing. 



CUTTING THE SKIRT. 

Very few skirts at the present time are lined, or if a 
lining is used, it is in the form of a foundation or drop skirt, 
made entirely separate from the outside skirt. The lined 
skirt is scarcely ever seen, though there is some talk every 
little while of its return, but it is hardly likely to be very 
popular, as it is always so heavy. 

Lay the front gore with its perpendicular, or straight, 
edge on a fold of the goods, as this is tha center of the front, 
having the bottom of the draft at the end of the goods in 
order that you may place the top of the next gore up into 
the piece left, provided the material has no nap. Trace 
the front gore, beginning with the hip line, then the lines 
that outline this gore, waist, side and bottom. When cut- 
ting, leave a three-fourths inch seam on the side, one-fourth 

147 



of an inch above waist line, and cut it from one-half to on::; 
inch longer than the tracing. 

Cut the other gores in the same manner, keeping the 
front edge of each gore on a straight line of the goods. 
Trace Line 4 from the hip line to bottom of skirt, then 
trace Line 20 from hip line up to waist line. This forms 
the back edge of the front gore. The front edge of the first 
side gore is formed by Line 4 from hip line to bottom, and 
by Line 21, from hip line to waist line. Its back edge is 
formed by Lines 8 and 22. Likewise Line 8, from hip 
line down to bottom, and Line 23, from hip line up, form 
the front edge of the second side gore, and Lines 12 and 24 
form its back edge. Line 12, from hip line to bottom, and 
Line 25, from hip line to waist line, form the front edge 
of the back gore, and Line 16 its back edge, unless the in- 
verted plait is allowed, then Line 32 forms its back edge. 
When tracing and cutting, pay no attention to Lines 2, 3, 
6, 7, 10, 11, 14 and 15, as they are only used to give the 
proper slant to the lines that extend to the bottom. When 
the material is narrow, you may have to piece on the lower 
part of the bias edges of the gores. When you do, be sure 
to have the piecings cut on a straight line of the goods where 
it is to be sewed to the gore. Do not piece a bias edge on 
a straight edge. When cutting gores that have the flare 
on both edges, place the center of each gore on a straight 
thread of the goods. 

After cutting the gores, mark the seams with notches 
at the hip line — the front gore with one notch and the 
front side of the first side gore with one notch, as these 
two edges join. Mark the back edge of the first side gore 
and the front edge of the second side gore with two notches, 
as these two edges join. In other words, mark both edges 
of Line 4 with one notch, both edges of Line 8 with two 
notches, and both edges of Line 12 with three notches. 
This will prevent the misplacing of the gores when basting 
them. 

148 



BASTING THE SKIRT. 

First fold the edges of the front gore together and run 
a basting along the folded edge as a center mark. Always 
start with the front gore and pin the first side gore to it, 
beginning at the hip line and pinning down rather close, 
and than pin from the hip line up, and be careful not to 
stretch the bias edge. Pin all the gores this way before 
basting, placing the straight edge of each to the bias edge 
of the other; or, put the corresponding notches together. 
Hold the bias edge next to you in each case. This is very 
important. The two bias edges of the back will come to- 
gether at the center in the back. Leave an opening for 
the placket. Use moderately short stitches when basting. 

FITTING THE SKIRT. 

Cut a strip of lining lengthwise about two inches wide 
and the length of the waist measure, plus two inches for 
lapping, and after allowing for the overlap, notch the cen- 
ter of the remaining length. Pin this around the person 
you are to fit, and place the notch directly in front. Do 
not lap the ends of the band in the back, but pin to form 
a seam. 

Put the skirt right side out on the person and pin the 
center of the front gore to the center of the band ; also pin 
all the seams to the band, letting them come up easily and 
smoothly over the hips and having them straight from the 
hips to the waist line. Pin so the seams will not slant to- 
ward the back. 

If the gores are too wide at the top, you will have to 
take the fullness out at the seams. The best way to do this 
is to smooth the fullness as close to the seam as possible 
and pin the skirt to the band, having the fullness between 
the pin and the seam. If there is any fullness on the other 
side of the seam, dispose of it in the same way. This will 
leave the seam pinned at three different places. When 
you take the skirt off to rebaste it, remove the center 
pin which fastens the seam to the band and the edges of the 

149 



gores will still be held in place on the band by the other 
pins. 

If the fullness is taken from one edge only, pin as 
directed above, always placing a pin on each side of the 
seam. Rip the seam open a short distance and let the full- 
ness out from just the one side, and then rebaste. If the 
fullness is taken from both sides, just pin the seam enough 
larger to take up the fullness, pinning down toward the hip 
width of the seam. Notice all the seams closely to see that 
they run straight from the hips to the waistline; if they 
do not, the gores will not hang evenly. If the gores are too 
narrow to permit the seams to come up straight, pin the 
gores to the band and then fit the hips so as to make and 
keep the seams straight. 

If the skirt is too loose over the hips, take the seams 
deeper, and it may be necessary to let them out just a little 
at the waist line. If the skirt draws across the stomach, 
loosen it on both front seams. Arrange the inverted plait 
in position in the back and pin it, letting its edges come 
together five or six inches below the band without having to 
be drawn together to make it stay in position. If all neces- 
sary changes have been m.ade, have the person sit down in 
order to ascertain if the skirt sets well in front when she is 
sitting; it will roll up across the stomach if it is too tight 
there. Extraordinary care must be exercised here, as the 
skirt must not be fitted too tight around the hips and 
stomach, and yet it must not be allowed to hang in little 
lengthwise folds or ripples from the waist to hips. Remove 
the skirt and first fold skirt band on center notch and hold 
it together at the back to see that the seams of the cor- 
responding gores meet at the same point on either side of 
the band, and also that the back edges of skirt or the width 
of the back gores are exactly the same, otherwise the skirt 
will be wider on one side than on the other. If the seams 
do not correspond and the corresponding gores are not the 
same width, make them equal by dividing the difference 
into halves and widen one gore and narrow the other until 
they are of equal width. For instance, if the difference is 
one inch, one-half of this added to the narrow gore and the 
other half taken from the wider gore. 

150 



The band will have to be removed to make the altera- 
tions, but before doing so run a basting thread at the lower 
edge of it ; also along the edges of the inverted plait. After 
making all the changes and basting band back on, put the 
skirt on again to see if the alterations have been properly 
made. 

The instructions given in Lesson 9 are for a round 
ssven-gore skirt. By "round length" is meant a skirt that 
just touches the floor all around. If making a fancy skirt, 
make it to touch the floor in front and on each side and with 
a graceful sweep in the back. Commerce the sweep at the 
second side gore, but be sure first that this gore fits per- 
fectly smooth over the hips, as sometimes they take it up 
more than has been counted on, and it wifl be too short; 
the skirt must be even at the bottom, or the beauty of the 
sweep is lost. 

Before ascertaining the length, observe if it is perfect 
around the top, at the waist and around the hips; also see 
if the skirt sags or pulls down in the back ; if it does, raise 
it up and trim off a little at the top. If trimming it makes 
it too large at the waist line, take the seams up a little. 
If one hip is higher than the other, which is frequently the 
case, pad the lower one enough to make it the size of the 
other. Mark just how far the padding must extend. 

If the person is very slender and the skirt is made 

plain around the hips, her appearance would be much im- 
proved if both hips were padded a little. If she is flat in 
the back, a small bustle should be worn, or a pad may be 
made and fastened in the skirt at the last fitting; slope it 
off gradually from the waist line. The skirt length is now 
ready to be measured. 

Fit the skirt over the same number of petticoats as 
will be worn with it, as a skirt may be made from one- 
half to an inch shorter by a different set of petticoats. 
These petticoats should all fit smoothly over the hips to 
make the skirt set well. A change in corsets will also make 
a difference, as well as high and low-heeled shoes. 

Remove the skirt and mark the bottom with a basting 
thread. 

151 



STITCHING THE SKIRT. 

Commence at the top of the seam and stitch down to 
the bottom. When stitching the back seam, stitch in at the 
same time a straight strip of lining about one-half inch 
wide. This will prevent the bias seam from stretching 
and sagging. Draw out the basting thread and trim the 
seams evenly and notch them in several places where the 
flare comes, so they will not draw. This seam may be over- 
cast, notched or bound, using binding ribbon with which 
to bind them. 

Now finish the placket opening. If making a drop or 
foundation skirt, do not use canvas, but just a strip of 
lining, and make a fly about one and one-half inches wide, 
and sew to the left side of the opening. Face the right side 
with facing about one and one-half inches wide and stitch 
it down firmly at the bottom over the fly. Press the seams 
and then stitch the band on. Other ways of finishing the 
placket will be given in a later lesson. 

FINISHING THE BOTTOM. 

The finishing of the bottom of the skirt is a very im- 
portant matter in dressmaking, and one which requires and 
necessitates as much skill and care as any other portion of 
the garment. 

Fold the skirt together at the center front fold, and 
pin the corresponding seams together at the hip line. Be 
extremely particular when doing this, as the skirt must 
hang even all around. Now pin the front seams together 
all the way down, then the two first side gore seams, and 
so on. Notice if the corresponding gores are the same 
width at the bottom. If not, make them so by taking up 
the seams of the widest one. After they are all pinned 
together evenly, put in a few pins between the seams near 
the bottom so that both sides will be held firmly. 

Now, notice if both sides are marked even in length. 
Run the tracing wheel on one side on the mark for the bot- 
tom, and see if the other side corresponds to this one. In 
case the material does not show the tracing, then pin 
through both sides on the bottom mark. Or, take the tape 
Page Eight 

152 



line and measure each seam, noticing whether the corre- 
sponding ssams are the same length. When you are cer- 
tain they are all the right length, trim the skirt off around 
the bottom, leaving about one-half inch below the marked 
or traced bottom line; this one-half inch is to turn over 
ths facing in case the bottom is finishing in this way. A 
narrow hem is much used for finishing ths bottom, espe- 
cially in the light weight materials, such as voile, etamine, 
Panama, silk, etc. Velveteen has always been considered 
by many to be the most wear-resisting, but it is not used 
as much now as formerly. There are two methods of ap- 
plying it to a skirt, as follows : 

Sew one edge of 
the velveteen to the 
lower edge of the skirt 
on the inside, using a 
short running stitch. 
Begin at the back, lay 
the right side of the 
velveteen toward the 
skirt and allow the 
edge to lie on the skirt 
just a narrow seam's 
width the remainder 
of the velveteen ex- 
tending below the bot- 
tom of the skirt. Sew 
this on with an occasional back stitch, being careful to 
take the stitch into the facing only and not through to the 
outside. Be sure and do not stretch the velveteen. 

After the lower edge has 
been properly sewed up, turn 
the skirt on the right side, 
crease the velveteen so that 
about one-eighth of an inch 
will extend below the bottom 
of the skirt, and then baste it 
all around on the right side. 
Turn the skirt again and turn 
in the top edge of the vel- 
veteen and whip it down to the facing. 

153 




FIG. 51 
Velveteen Finish on Bottom of Skirt 




FIG. 52 
Correct Finish of Velveteen 



(See Fig. 51.) 



>./\4 



Some dress- 
makers do not 
turn in the top 
3dge, but cat- 
stitch ac r o s s 
the raw edge 
to hold it to 
che skirt. 

Another 
wa3' of apply- 
i n g velveteen 
is to place it 
right side 
dovi^n on the 
material, then 
baste and 
stitch it. This 
is done before 
the facing is 
put on. Baste 
the velveteen 
on first, then 

the facing, then stitch. Turn and baste the facing 
down smoothly and stitch if you desire, or catch it down 
b'o-htly to the material. Fold the velveteen down on the 
facing, allowing it to come about one-eighth of an inch 
below the bottom of the skirt, and then baste it; finish by 
whipping it down to the facing. (See Fig. 53.) If braid 
is used instead of velveteen, it must be shrunken first by 
dipping it in water and then pressed until dry. Press the 
bottom of the skirt well after it is finished. 

In hemming the bottom of a skirt made of heavy 
material, such as broadcloth, etc., it is difficult to turn under 
the edge at the top so it will lie flat and smooth. This may 
be finished without turning under the edga by notching 
the top of the hem when material is such that it will not 
fray, by using a narrow satin ribbon about one-half inch 
wide or a strap of good wearing silk, or mohair braid. If 
these finishings cannot be had to match the material i' 




FIG 53 
Velveteen on Lined or Fsced Skirt 



154 



color, use black, or if the skirt is very light in color use 
white. Before putting this on the top, however, put the 
braid on at the bottom of hem. This is done in different 
ways according to the braid used, how the hem is stitched, 
etc. If no stitching is to show at the very bottom from the 
the outside, a very good way to put the braid on is to turn 
the skirt up at the bottom on the traced or marked line 
and baste it. Then, holding the outside of the skirt to- 
ward you with the bottom of the skirt up, proceed to baste 
the braid on with a loose stitch about one-half of an inch 
long and as close to the edge of the material as possible. 
If the braid is of ordinary mohair skirt braid, see that 
it is shrunken before applying it to the skirt. Baste it 
so it will extend about one-eighth of an inch below the bot- 
tom of the skirt, beginning to baste about one-half inch 
from the end of the braid, leaving that much to turn up 
as a finish. When the braid is basted nearly around the 
skirt, turn the last end over the first about one-half ii'ch 
and finish basting. Then, with a thread to match the 
braid, whip along the width of the braid on either side 
where the ends turn over each other, being careful to 
draw the thread tight enough to hold the braid at its 
original width. 

If the brush braid is used, proceed in the same man- 
ner, holding the skirt so that it will extend nearly a quar- 
ter of an inch below the bottom of the skirt. The basting 
will thus extend through the brush part only, which will, 
however, be sufficient to hold it in place until stitched. 
Just before the end of the braid first basted on is reached, 
fold this last end under about one-half inch to cover end 
already basted on. Use a thread to match the braid to whip 
this turned edge down. Now remove the basting that holds 
the hem, leaving only the one that holds the braid which has 
just been put in. Then, with the hem out and the right 
side of the skirt up, stitch along both upper and lower 
edges of the braid, stitching the latter far enough in to 
stitch on the solid part. If the plain mohair braid is used, 
stitch only its upper edge. 

Before removing the basting holding the braid, rebaste 
the hem by having the inside of skirt up so that the full- 
ness at the top can be basted in in small plaits. First baste 

155 



near the bottom and work toward the top, putting enough 
rows to hold the hem perfectly smooth. When this is com- 
pleted, press well with a damp cloth over it, being careful 
to press until perfectly dry. If the material spots, do not 
use the damp cloth. Next measure width of hem desired, 
minus the width of the finish (ribbon, strap or braid). A 
convenient way is to measure off and cut a piece of light- 
weight pasteboard the desired length; this marker must 
be long enough to include the braid that extends below 
skirt, as the hem must be measured from the bottom of 
the braid each time. When measuring, mark along the 
edge with tailor's chalk. 

Skirts and costumes in the soft, sheer materials, such 
as crepe de chine, chiffon, voile, nettings, etc., need no braid 
at the bottom. In finishing the top of hem in such skirts 
after basting hem a ways from the bottom, measure and 
mark depth of hem, trim a seam's width above the mark, 
turn this width back at mark and hold in place while, with 
a silk thread t<) match the material, gather along close to 
the folded edge with small stitches, drawing the thread just 
enough to make the hem lie flat. Pin into place along as 
the gathering is done. Then, with a basting thread, baste 
the hem in position at the top. When basting in a hem 
always place the skirt so that hem will be on a flat surface 
or so that outside of skirt will lay smooth. Be careful to 
keep the lines of fullness running straight up from the 
bottom of the skirt toward the gathered edges. Press hem 
well and put hem in by hand or stitch it. In case it is 
hemmed by hand, the turned-up portion of the hem should 
b(! fitted to the skirt by small plaits where necessary, in- 
stead of gathering the edge. The same care should be taken 
to make these plaits run in straight lines, as only in this 
way can a smooth hem be made. Press and slip-stitch hem, 
that is, take up only a thread or two of the skirt and slip 
the needle along inside of the folded edge of the hem; the 
stitches may be about one-fourth of an inch apart. 

LINED SKIRl'S. 
Lined skirts usually require some stiffening in the bot- 
tom to permit the skirt to hang well and set out properly 
from the feet. Some designs and styles are most desirable 

156 



made with a lining throughout, and these usually have an 
interlining of hair cloth or canvas in the bottom. (See 
Fig. 54.) 

The lining and material are cut exactly alike, but each 
is stitched as a separate skirt. Press the seams of each 
and apply the interlining to the lining. Linen canvas, hair 
cloth and crinoline are the materials principally used for 
this purpose. These must be thoroughly shrunken before 
using them. 

If canvas is used, cut the strips about two or three 
inches wide on the true bias. If it is cut wider than three 
inches it will have to be cut to fit the bottom of the skirt. 
Baste the canvas on the inside of the skirt, placing the edge 
of the canvas on the marked line for the bottom of the 
skirt. Hold the canvas towards you and baste real close 
to the edge, drawing it just a trifle when you come to the 
curves at the bottom. After basting all around turn the 
skirt so the material or the right side of the skirt will be 
next to you instead of the canvas. Hold the canvas in posi- 
tion with your left hand and baste it at the top from the 
outside. After this is done, baste the one-half inch space 
at the bottom of the skirt up over the canvas. 

If p r e - 
ferred, hair _ ''X^ 

cloth may _ -^ '/ 

of cloth or 

lining or the p.,,^, ^^^^^^^ 3„„„, 

hairs will 

work through to the outside. Cut the hair cloth so the 

hairs will run around. Use skirt featherbone if you want 

157 



the skirt to stand out well at the bottom. Stitch it in with 
the machine at the top of the canvas. If you do not use 
the featherbone put a few rows of stitching around the top 
of canvas. 

The best method of shrinking hair cloth is to lay it 
on the ironing board, and with a large sponge which is 
thoroughly saturated with water, wet the hair cloth well 
about one-half yard at a time, rubbing in one direction. 
Use a very hot iron and press until perfectly dry. The 
hair cloth will also have to be cut to fit the bottom of the 
gores. Now join the lining to the skirt by having them 
both turned wrong side out and place the front gore of the 
lining over the front gore of the material with the corre- 
sDonding seams touching each other. Each seam of the 
material is tacked to its corresponding seam in the lining 
until all are joined together. If both lining and material 
are cut exactly alike and the seams stitched the same width, 
there will be no difficulty in putting the skirt together. 

Some may prefer the old-fashioned way of basting the 
lining to each gore of the material and stitching together 
at the seams. This is sometimes desirable for lining thin 
materials when the edges of the seams would show through. 

WALKING SKIRTS. 

When taking the measure for a short walking skirt, 
take them as instructed and then take off an equal amount 
from each measure. The skirt will then hang even all 
around and you will have the correct measure over the 
hips. A walking skirt should clear the floor about two 
inches. Draft plenty long, however, as some people take 
up a skirt on the hips and stomach more than others. 

All cloth must be sponged and shrunken before cut- 
ting and making a skirt, or it will shrink and show spots 
after it is made. Take a damp cloth or sponge and thor- 
oughly dampen the goods and then press it until dry; do 
not have the iron too hot. Lesson 14 fully explains the 
different methods of shrinking. 

158 



If the cloth has an up or down, or, in other words a 
nap, be very careful to cut all the pieces one way. Cut 
and baste according to instructions given for the round 
length skirt. Stitch all the seams except the back seam. 
Leave this open until the seams are stitched on the outside 
or any trimming of straps, etc. Finish the seams on the 
inside by binding, notching or overcasting. 

FINISHING THE BOTTOM OF A WALKING SKIRT. 

If the bottom of the skirt is to be stitched with sav- 
eral rows of stitching (see Fig. 55), face the skirt either 
with itself or with bias strips of light weight flannel cot- 
ton and wool mixture, so the stitching may show with bet- 
ter effect. This 
inner facing 
should be bast- 
ed around the 
skirt several 
times, begin- 
ning at the 
traced line for 
the bottom and 
basting one 
row, then an- 
other, and so 
on until the 
top of the fac- 
ing is reached. 
This will pre- 
vent the skirt 

and facing slipping when being stitched. Stitch the first 
row near the, edge so as to catch the facing and thsn stitch 
the rows about one-fourth of an inch apart until you reach 
the top of the facing. Be careful to have an easy tension 
on the machine that the stitching may not draw. A gauge 
or quilter, fastened to the needle bar will make the stitch- 
ing more even. After the stitching is finished, turn up 
the bottom at the tracing or marked line for the bottom 
of the skirt, and hem if it is long enough; if not, it will 
have to be faced with a lining. 




FIG. 55 
Stitching on Bottom of Skirt 



159 



If you do not care for so much stitching and a simple 
hem is preferred, baste a bias strip of lining or cambric 
in the bottom of the skirt in the same manner as the flan- 
nel, and turn the hem over it and baste in place and then 
one or two rows of stitching may be put in at the top. 

Or, another way is to baste the inner facing enough 
to hold it in place and before stitching baste the skirt at 
the bottom mark; then put on the outer facing, bsginning 
by basting it a little less than one-fourth of an inch from 
the bottom of the skirt and continue putting rows of bast- 
ing about three-fourths of an inch apart until nearly to 
the top of facing. Turn the edge of the outer facing over 
the top inner facing and baste to hold in place. If a braid 
is to be used, adjust it next. If the material is heavy and 
a brush braid is used, baste it into position by holding 
outside of skirt to you and letting braid come below bot- 
tom of skirt nearly a quarter of an inch, and proceed to 
stitch as directed for the inner facing. A mohair braid 
may be used on heavy materials and its durability will 
be greatly increased by doubling that part of the braid 
which comes next to the bottom. It should be thoroughly 
shrunken before using it. Put the braid in water and 
squeeze it as dry as possible and then press. The ordinary 
mohair skirt braid is two-thirds of an inch wide. Turn 
over the edge of the braid next to you so that it will com? 
within one-third of an inch from the other edge, holding 
the end of the braid with the flat iron, and when folded as 
described, press into position, being careful that it is 
pressed perfectly dry or it will not be shrunken the same 
and will be wider in some places than in others. Before 
proceeding to stitch, place the braid so the edge which 
was folded back will come next to the facing and so that 
the double portion will come next to the bottom and about 
one-eighth of an inch below, and hold in this position a 
little way ahead of the presser foot, and stitch along edg-^ 
of skirt. When nearly to the other end of the braid on 
the skirt, double the last end of the braid back about one- 
half of an inch for a finish. The ends of the braid will 
flare if not held in position, so before making the second 
row of stitching, hold the braid together so it will be th • 

160 



same width at the ends as elsewhere, and baste. Proceed 
with the stitching to top of facing as before instructed. 

Fasten the belt or band of the skirt at the top with 
hooks and eyes. Do not have the band too wide. Draw 
out all the basting threads and press the skirt well. Use 
a long ironing board so as to stretch the skirt out full 
length. Begin with the front gore and press out any 
folds or wrinkles that may be in it. Dampen the seams 
and press until perfectly dry. Keep the skirt straight on 
the board and press the gores, running the iron in a semi- 
circle motion — not up and down, as in some material 
this would lengthen the skirt. Press the inside folds of 
the inverted plait in the back, and the bottom of the skirt 
thoroughly. 

Put a hanger or loop on each front seam and one in 
the center of the back, so that the skirt will hang even 
when hung up. If you wish to make an outside belt of 
the same material, cut it on the straight of the goods, about 
one and one-half inches wide. Cut an interlining of light 
weight canvas about one inch wide on the half bias, which 
is half-way between the true bias and straight of material, 
and baste center of this strip to center of outside strip. 
Turn the edges over interlining, stitch and then press. Face 
it with a piece of lining, sewing the facing on by hand. 
The belt may be made either long enough to just meet or to 
lap in front. In the latter case make it about three inches 
longer than the original waist measure, and make the ends 
pointed. 



161 



CHAPTER XL 



Drafting Five-Gore Skirt; Drafting Nine-gore Skirt, adding flare to 
nine-gore; Drafting Fifteen-gore, adding flare to fifteen-gore 
skirt; Adding flare to five-gore skirt; Adding fullness to skirts 
by plaits or tucks at the seams; Adding flare to seven-gore; 
General instructions for adding flare to skirts. 



DRAFTING FIVE-GORE SKIRT. 

Take the skirt measure as directed for a seven-gore 
skirt and make the seven-gore foundation lines below the 
hip line very light, as indicated by the dotted lines in Fig. 
56 accompanying this lesson. Then test the hip line to see 
if it corresponds to the hip measure, and if correct draw 
Line 16. The front gore is made one inch wider than in 
the seven-gore, so measure one inch to the left of the dot- 
ted Line 4 on hip line and draw a line parallel with Line 4 
and extend it about seven inches above the hip line. Mark 
it Line 17. Make the back gore two inches wider than in 
the seven-gore, therefore, measure two inches to the right 
of the dotted Line 12, on the hip line, and draw Line 18 
parallel with Line 12, and extend it also about seven inches 
above the hip line. (See Fig. 56.) 

Now divide the space at the hip line between Lines 
17 and 18 equally and place dot Y at the midway point. 
Draw a line six or seven inches long up from Y and mark 
it Line 19. (See Fig. 56.) This line should be parallel 
with dotted Line 8. 

163 



Next locate the waist line. Measure up on Line 19 
from dot Y, the length of the dart which in this case is 
six inches, and make point B. Since the original side 
measure is forty-one inches, and six of this is above the 
hip line, all the lines or gores must be thirty-five inches 
below the hip line. As stated in a former lesson, the dif- 
ference in the measures must come above the hip line. 
Since the front measure is forty inches, and since the length 
below the hip line is thirty-five, then the length from hip 
line to waist line must be five inches. So measure up five 
inches from the right end of Line 1 and make point E. 
The back and side measures in this draft are the same, so 
measure up six inches from hip line on Line 16 and make 
point F. Now, with face of square up, place A on square 
on B on draft and let edge of the square touch E, and where 
the edge of square touches Line 17, make point G. Re- 
verse the square by placing its face down and place A 
curve on square on B on draft and let the edge of square 
touch F, and where the edge touches Line 18 make point H. 

Measure up waist line in the same manner as in the 
seven-gore, to see how much is to be taken out in darts. 
This will be found to be a trifle less than five inches. Be 
sure to notice the form and build of each person when tak- 
ing the measurements so that the darts can be made ac- 
cordingly. Next make the curved lines that form the top 
of the darts. This is done according to instructions given 
for the seven-gore. 

Since in the five-gore skirt the front gore is so wide 
at the waist line it is deemed advisable in most every case 
to take out at least a small dart on either side of the cen- 
ter, about half-way between the center and Line 17. Make 
this dart one-half inch in width in this case. The side 
dart or dart on Line 19 is made two and one-fourth inches 
wide. This will leave two and one-fourth inches for the 
darts on Lines 17 and 18. Make the dart on Line 18 one- 
fourth inch wider than the dart on Line 17. This will 
make the former dart one and one-fourth inches wide and 
the latter one-inch wide. Draw the lines that form the 
darts from hip line up to points on the curves, according 
to instructions for drawing them in the seven-gore. Re- 

164 



member a little more of the dart is taken off of the bias 
edge of each gore than off of the straight edge. 

Draft inverted plait if desired and extend the draft 
below the hip line as in the seven-gore. 

DRAFTING NINE-GORE SKIRT. 

Take the measures as directed for the seven-gore skirt, 
being careful to note the form of the person. It is well to 
make notation of any irregularities for reference in 
drafting. 

Make a light or dotted foundation of the seven-gore 
draft, as this is the basis from which to work in drafting 
any number of plain gored skirts. After locating and 
testing the hip line, draw Line 16. Proportion the gores 
at the hip line so that they will be as nearly the same width 
as possible. The front gore may be made a trifle smaller 
than the other gores. There are two back gores, which, 
taken together, are the same width at the hip line as each 
of the other gores, so when proportioning for the other 
gores at the hip line, calculate the same as if only eight. 
In the model measure or any measure not varying greatly 
from this forty-inch hip measure, this calculation is saved 
by measuring one inch to the right from Line 4 on hip line, 
and from this point draw Line 17 parallel to Line 4, and 
extend it six or seven inches above the hip line. Then 
measure three-fourths of an inch to the left from Line 12 
on hip line and from this point draw Line 18 parallel to 
Line 12, also extend it above the hip line six or seven 
inches. 

Measure the space between Lines 17 and 18 at hip 
line and divide it into three equal parts, marking on the 
"Scale of thirds." Extend Lines 17 and 18 about twelve 
inches below the waist line, and then measure the space be- 
tween their lower ends and divide it into thirds, marking 
on the "Scale of thirds." Connect these points with those 
made on the hip line, and mark them Lines 19 and 20. 
(See Fig. 57.) 

Next, locate the waist line as in Lesson 9, and meas- 
ure it to see how much is to be taken out in the darts. In 
this instance four and five-eighths inches are to be taken 
out. There are four darts in this draft, and as the darts 

165 



on Lines 19 and 20 are so nearly an equal distance from 
the point where the dart length is taken, make these two 
darts equal, and their sum equal to a little more than one- 
half of the entire amount to be taken out. In this case 
they will each be one and three-eighths of an inch wide; 
the dart on Line 17 will be seven-eighths of an inch and 
the dart on Line 18 one inch wide. The curves at top of 
Lines 17, 19, 20 and 18 are drawn according to instruc- 
tions for drawing them in the seven-gore. The points on 
the curves and the lines that form the darts are also drawn 
as in the seven-gore. Always remember when making the 
darts to take off a little more on the bias edge of each gore. 
In this case, one-eighth of an inch more is sufficient. 

Measure up the waist line outside of the darts to see 
if it is correct, then draw the waist line for each gore and 
add the inverted plait, if desired, in the same manner as 
in the seven-gore draft. Extend the lines below the hip 
line until they are the desired length, and draw the line that 
forms the bottom. 

If from this draft a flare skirt is desired, measure the 
width around the bottom of the plain draft and add such 
an amount as will make the width from 4^/2 to 4% yards, 
which is considered good for an average measure in the 
nine-gore skirt. It varies, however, according to the skirt 
length — the short skirt requiring less flare than the long 
length, also a stout figure less than a slender one. 

After ascertaining the amount to be added to the orig- 
inal draft to make it the required width, count the num- 
ber of edges upon which the extra width is to be added and 
proportion it accordingly, adding more of the flare to the 
bias edge of the gore than to the straight edge, and a greater 
proportional increase on the bias edges than on the straight. 

Measure down on Line 17 about one-half the front 
length, or a distance where the flare is desired to begin, and 
from this point draw Line 21 to a point on Line 18 about 
three inches below hip line. 

It is found, by estimating, that this draft must meas- 
ure 81 inches, after the flare is added, to make it 41/2 yards 
around the entire skirt. 41/^ yards equal 162 inches, and 
half of this amount (which is the part represented by this 
draft), is 81 inches. Then, by subtracting the width of 

166 



this draft at the bottom — 49 inches — from the width, it 
should be after the flare is added — 81. inches — it will leave 
the amount to be added in the flare, 32 inches. In this 
draft there are eight edges upon which to add the flare, or 
nine when the inverted plait is not used. In this draft this 
plait is shown (See Fig. 56), so that the flare added to the 
front edge of back gore, which is cut out with the inverted 
plait, is usually deemed sufficient without adding any to 
the plait at the back. 

As the amount added to the front edge of the gores is 
increased in a regular proportion, as is also the amount 
added to the back edge of the gores, it is best, to avoid con- 
fusion, one with the other, to add the flare first to the back 
edge of each gore and then to the front edge of each. 

Beginning with the back edge of the front gore, add 
1% inches; that is, measure on bottom outline of skirt 1% 
inches to the left of Line 17, which is the original back 
edge of front gore, and from this mark draw a line up to 
the junction of Lines 17 and 21. Then this new line will 
mark the back edge of the front gore after the flare is 
added. Next, add the flare to the front edge of the first 
side gore, making it li^ inches, since less is added to the 
straight edges than to the bias. Do this by measuring on 
the bottom outline of skirt to the right 11/2 inches from 
Line 17, which is the original front of this gore, and from 
the 11/2-inch mark draw a line to the junction of Lines 17 
and 21. This new line will mark the front edge of the first 
side gore, after the flare is added. Now, as a greater pro- 
portional increase is required on the bias edges than on the 
straight, increase the bias edge in this case 214 inches and 
the straight edges V/4, inches. 

Be careful in adding the flare to measure out from the 
original edge of the gore, and as soon as the amount of flara 
is marked, immediately draw the lines indicating the new 
edge of gore (as instructed in adding the flare to the front 
and first side gores), so the marks will not be confused. 
To the back edge of the front gore was added 1% inches, 
and increasing this 214 inches, will make 4 inches to be 
added to the back side of the first side gore, 6^4 to the 
second and 8V2 to the third. To the front edge of the first 
side gore was added IV2 inches, and sin^e the increase on 

167 



these edges is 1^4 inches, it would make 2% inches to be 
added to the front edge of the second side gore, 4 inches to 
the third, and 5i/4 inches to the back gore. 

Beginning at front edge of draft, indicate the respec- 
tive edges of the gores, after adding the flare, by drawing 
an arrowhead line across each gore near the bottom from 
one edge to the other (See Fig. 57) , so that the pattern may 
be traced and cut without any mistake. These lines can 
be easily followed by glancing above Line 21 at the orig- 
inal edges of the gore and following the lines outside the 
original edges, which are the new outlines. In adding the 
flare in some instances where the new outlines of the gores 
join the original ones on Line 21, the slope is not gradual 
enough. Obviate this by placing point C on the square on 
the perpendicular line, about IV2 inches above the junction 
lines (or far enough to make the flare slope off gradually), 
and draw a line. 

The next step is to trace and cut the different gores, 
as instructed in Lesson 9. Part of them may be cut from 
this draft, while others must be traced, as the lower edges 
in some of the gores overlap. (See Fig. 57.) The gores 
marked with a small circle near hip lines are those to be 
traced on other paper. Cut the others from the draft. 
The front edge of the third side gore overlaps the back 
edge of the first side gore, however, and the time and trouble 
in tracing one of these gores complete may be saved by 
simply adding a small piece of paper to one or the other, 
equal to the overlap. 

DRAFTING FIFTEEN-GORE SKIRT. 

The measures are taken the same as in the seven-gore 
and first a foundation of the seven-gore draft is made. Test 
the hip line to see if it is correct. Then draw Line 16, 
letting it extend six or seven inches above the hip line and 
about twelve inches below. 

In the many gored skirts make the gores the same 
width at the hip line with the exception of the front gore, 
which may be made just a little wider; however, not less 
*:han one-half inch wider. In this draft the hip measure is 
40 inches. This is to be divided among the fifteen gores, and 
by dividing 40 into fifteen equal parts the gores would be 

168 



nearly two and three-fourths inches wide. Make the whole 
front gore three inches wide, but as only one-half of this 
gore appears on draft, the hip line or Line 1, will be one 
and one-half inches wide. After measuring for this width, 
draw Line 17, to form the back edge of front gore, by first 
measuring down on right edge of paper 12 inches, and 
make a mark to the left of it, 214 inches or % of an inch 
more than width at hip line, to give the proper slant and 
connect this mark with that on hip line. 

Now, measure the space on the hip line, between Lines 

16 and 17, and divide the space into seven equal parts, 
as this is only one-half of the skirt. Also measure the 
space between the lower ends of these two lines and divide 
it into seven equal parts. Connect these divisions with 
the corresponding ones on the hip line, and mark them 
Lines 18, 19, 20, 21, 22 and 23, respectively, extending 
them five or six inches above the hip line. (See Fig. 58.) 

Locate the dart length on Line 8, and from this locate 
the waist line on the other lines, according to instructions 
already given. Then measure up waist line to find how 
much will have to be taken out in the darts. In this case 
there are four and three-fourths inches over the given 
waist measure. In this draft the darts are to be taken out 
on Lines 17, 18, 19, 20, 21, 22 and 23— seven in all. As 
a rule, tak^ out the most on the sides and the least in front. 
It depends on the form of the person. In this instance take 
out considerably less than one-half of the entire amount — 
four and three-fourths inches — on Lines 20 and 21. The 
darts on these lines are each made one inch wide. This 
leaves two and three-fourths inches to be taken out in the 
other five darts. Decrease one-fourth of an inch on the 
darts next to this on either side, and make the dart on Line 

17 three-eighths of an inch wide. That is, the darts on Lines 
20 and 21 will each be one inch in width ; those on Lines 19 
and 22 will each be three-fourths of an inches; those on 
Lines 18 and 23 will each be one-half of an inch, and the one 
on Line 17 will be three-eighths of an inch in width. Draw 
the curved lines at top of these lines, as already given in the 
seven-gore draft. With square in left hand, place thumb 
nail on mark indicating amount to be t^ken out in each dart, 
and place this space at the middle of the curved line, or on 

169 



top of Lines 17, 18, 19, 20, 21, 22 and 23, respectively, 
and then let the square slip forward far enough to take a 
little more of the dart out on the bias edge than on the 
straight edge of gore. The difference will be much less, 
of course, in the many gored skirts than in the few gored. 
One-eighth of an inch difference is made in this draft. Be- 
fore drawing the lines that form the curves, always test 
the waist measure to see that it is correct. After these 
lines are drawn, then draw the lines that form the top of 
the gores or waist line. 

This completes the upper part of draft with the excep- 
tion of the inverted plait, which is drafted the same as in 
the seven-gore. 

If a flare skirt is desired from this model, begin in the 
same way as instructed in the nine-gored flare skirt except 
make the estimate for about five and one-half yards. Meas- 
ure down on Line 17 about one-half of the skirt length, 
or where flare is to begin, and draw Line 24 from this point 
to hip line, on Line 23. To Line 24 draw the lines indicat- 
ing the edges of the respective gores, after the flare has 
been added. The flare on the front, or straight, edge of 
each gore is less than on the back, or bias, edge. The flare 
on the front gore is the least, gradually increasing toward 
the back. As the amount added to the front edge of gores 
is increased in a regular proportion, as does also the amount 
added to the back edge of the gores, it is better here, as in 
the nine-gore, to add the flare first to the back edge of each 
gore and then to the front edge of each. One inch is added 
in this instance to the back edge of the front gore. Add 
this much and one inch more to the back edge of the first 
side gore, then connect this point with the junction of Lines 
18 and 24. Be very careful in adding the flare to measure 
from the original edge of each gore. To repeat, begin with 
the back edge of the front gore and add one inch. Meas- 
ure on the bottom line of skirt one inch to the left of Line 
17, which is the original back edge of the front gore, and 
from this inch-mark draw a line up to the junction of 
Lines 17 and 24. This new line will now be the back edge 
of the front gore, after the flare is added. Add three inches 
to the back edge of the second side gore and four inches to 
the third, five inches to the fourth, and so on. As soon as 

170 



the amount of flare is marked, then draw the line indicat- 
ing the new edge of each gore, according to instructions 
for the back edge of the front and first side gore. (See 
Fig. 58.) 

Next, add the flare to the front edges of all the gores. 
Three-fourths of an inch is added in this draft to the front 
edge of the first side gore, so measure on the bottom line 
of the skirt three-fourths of an inch from Line 17, which is 
the original front of this gore, and from this point draw a 
line to the junction of Lines 17 and 24. This new line will 
now mark the front edge of the first side gore. 

Increase this amount to be added to the front edge of 
each gore three-fourths of an inch, so at the front edge of 
the second side gore add one and one-half inches; to th?. 
third side gore two and one-fourth inches, and so on — 
adding three-fourths of an inch each time to the next gore. 

Continue until the flare has been added to all the gores. 
If there is no inverted plait, draw Line 24 from the same 
point on Line 17, but extend it to the hip line on Line 16, 
and add the flare on the left side of Line 16, with the same 
increase as the others. The amount added to the first two 
edges, however, must necessarily be less, as there will be 
one more edge to which the flare must be added than when 
the plait is used. The illustration accompanying this les- 
son shows skirt with inverted plait added to the back gore ; 
therefore, add the flare only on the front edge of the gore. 

Now, beginning at the front edge of the draft, indi- 
cate the respective edges of the gores, since their flare has 
been added, by drawing a line across each gore from one 
edge to the other, as indicated by the arrowhead lines in 
illustration. This will avoid confusion when tracing and 
cutting the gores. These lines can be easily followed by 
glancing above Line 24 at the original edges of the gores, 
and then following the new outlines on down to bottom. 

The next step is to trace and cut the different gores 
apart. Part of them may be cut from this draft, while 
others must first be traced and then cut, as the lower edges 
in some of the gores overlap. (See Fig. 58.) The gores 
marked with a small circle near the hip line are the ones 
to be traced on to another piece of paper in order to have 

171 



them separate. The others, which are marked "cut," can 
be cut from the draft. Be sure to trace the hip and waist 
lines in each gore. If the inverted plait is used, simply 
trace on Line 16 to show back edge of back gore; cut the 
gore and plait together in one piece by cutting Lines 23, 
32, 34 and 35, and on waist line and bottom line, (See 
illustrations for cutting the back gore in the seven-gore 
skirt.) Follow instructions in laying pattern on material 
and tracing, as for the seven-gore, and be sure to allow at 
least three-fourths of an inch when cutting. 
FIVE-GORE FLARE SKIRT. 

About four yards is usually considered a good width 
around the bottom for a five-gore flare skirt. First, meas- 
ure draft around the bottom of the plain five-gore draft, 
and then subtract this amount from one-half of the entire 
width the skirt is intended to be at bottom, and this will 
give the amount to be added to this half of skirt. Divide 
this amount among the gores, adding one inch to the back 
edge of the front gore, and the remainder to the other 
gores, according to instructions for adding the flare to the 
nine-gore skirt. Draw a slanting line across the gores to 
determine where flare is to begin. (See Fig. 57 and 58, 
of the nine and fifteen gore.) This line will vary according 
to the form and also style. Proceed as for the nine-gore 
flare. Since the five-gore has only four edges on draft 
upon which to add the flare, much more must be added to 
each one than in the nine-gore. In this case one inch is 
added to the front edge of the side gore, and 12 inches to 
the front edge of the back gore ; two and one-half inches is 
added to the back edge of the front gore, and seven and 
one-half to the back edge of the side gore. Slope the flare 
off at the top at the point where the new lines of the gores 
join the perpendicular ones, by placing point C on the 
square far enough above their junction to give a gradual 
slope — say about one and one-half inches. Near the bottom 
of the draft draw an arrowhead line across each gore from 
one edge to the other. (See Figs. 57 and 58.) Trace the 
side gore and cut front and back gores according to in- 
structions already given. 

The fullness can also be added in other ways, such as a 
plait or a tuck on each seam, which is very simple and yet 

172 



neat and stylish. This can be done by cutting the seams 
as much wider than the original seams as the plaits are de- 
sired. Baste the seams up on the tracings and fit the same 
as a plain skirt. Let the plaits graduate ; that is, stitch the 
seams in front down to about knee-depth, or a little below, 
and then make a gradual raise on each seam toward the 
back. Stitch the back seam all the way down, but when 
stitching on either side of the placket, stitch only placket 
length, allowing the plait to fall out from there down. 

To make a tuck turning toward the front on each seam 
in the upper part of skirt, turn the seams from underneath 
so that their edges will turn toward the back of skirt, and 
stitch back from the basted seam at an even distance. To 
make tucks turning toward the back, turn the seams so that 
their edges will extend toward the front and stitch as above. 
Then, when the top of skirt is stitched as desired, turn 
the skirt wrong side out and finish out the stitching of the 
seams, taking as small a seam as practicable, so that as 
much will be left in the plait as possible. Press well be- 
fore taking out the basting. 

Add the flare to the seven-gore skirt in the same man- 
ner. First, determine how wide the skirt is to be around 
the bottom, when finished. Four and one-third yards is a 
good average for a seven-gore flared skirt. Measure the 
width around bottom of the plain draft, and subtract this 
from one-half of the entire width, which will give the 
amount to be added to half of skirt. Make the least of the 
flare on the front part of skirt, and on the straight or front 
edges of the gores. Draw a line similar to Line 24 in the 
nine-gore skirt, which will mark point from which the 
flare on each gore is to begin. Begin by adding three- 
fourths of an inch to front of the first side gore, and in- 
crease amount added to the others three and one-half inches 
each time, and draw the new lines as before instructed. 
Then add one inch to the back edge of front gore and in- 
crease flare on the other gores four and one-half inches 
each time. Draw new lines for these edges and mark the 
bottom of the gores after flare is added, as indicated in 
illustration of nine and fifteen gore skirt. Trace the back 
gore, together with the inverted plait, if used, on to another 

173 



piece of paper and cut the others from the draft, as before 
instructed. 

Instructions have already been given for cutting a 
skirt to flare on both edges of each gore below^ the hips. 
A few w^ords here in regard to special treatment in the 
finishing, to preserve the flare and make them hang in just 
the proper manner, will not be amiss. After basting and 
stitching the seams, try the skirt on and pin a tape around 
to determine the hip depth to which the flat seams shall 
extent, for in a flare skirt the seams above the hips must 
be finished so they will lie open and flat, while below the 
hips they are finished off together. Mark the skirt with 
a basting thread along the edge of the tape. Remove the 
skirt and clip both edges of each seam on the inside at 
the basting thread, in order to divide the flat-finished seam 
from the rippled part. Extend this clip the full width of 
the seam edges, running in close to the stitching. Open 
and press the seams above the clip and finish each edge 
neatly with binding ribbon or notch them. Or the seam 
may be finished with a row of mdchine stitching at each 
side of the seam and quite close to it. 

Now, mark up from the bottom just how far the hem 
or facing is to extend, usually about three inches, and clip 
the seams also at this point, and open and press them be- 
low the clip in order to do the hemming or facing properly. 
The seams between the clips must be bound together, using 
a narrow strip of lining or binding ribbon. Do not press 
this part of the seam to either side, but allow it to stand 
out straight from the inside of the skirt, which will give a 
pretty rippled effect to the gores. 

Interline the bottom with crinoline, having the edge of 
the crinoline come to the tracing line that marks the bot- 
tom of the skirt, and turn the bottom up over the crino- 
line at the tracing line and baste it. Baste over this a bias 
facing and whip the lower edge to the turned-up edge of 
the skirt; the upper edge may be hemmed down by hand 
or by machine stitching, 

174 



GENERAL INSTRUCTIONS FOR ADDING FLARE TO 

SKIRTS. 

No set rule can be given for adding the flare to skirts, 
since it varies so much. The short skirt requires less flare 
than the long length, and a stout figure less than a slender 
one. It varies, also, according to the pravailing style and 
taste of the person for whom the skirt is made. 

To make a skirt of many gores the same width around 
the bottom as one with a few gores, it will be necessary 
to add less flare to each edge of the former, since there 
are more edges to which to add it. 

In adding the flare, the first thing to consider is the de- 
sired width of the skirt when finished, then measure the 
bottom of the extended plain draft, and subtract this 
amount from one-half of the width when finished and the 
difference will be the amount to be added to the draft. Al- 
ways add more to the bias edge of the gores than the 
straight, increasing the flare of each gore as you approach 
the back ; with this in mind, count the number of edges to 
which the flare is to be added and proportion accordingly 
so that the sum added to all the edges will be equal to the 
amount left after subtracting the width of the plain draft 
at the bottom from the width of one-half the skirt when 
finished. 

You will note that in the nine-gore flare we have taken 
for example a skirt which measures four and one-half 
yards, in the fifteen, one measuring five and one-half, and 
in the five-gore, one which measures four yards. In the 
nine-gore there are eight idges to which to add the flare, 
in the fifteen-gore fourteen edges, and in the five-gore only 
four edges, when using the inverted plait as shown in the 
skirt draft illustrations. Then, since the width around the 
bottom and the number of edges both vary, it can readily 
be seen that the flare added to the gores could not be the 
same in any two of them. 

When one wishes the width around the bottom of skirt 
greater in any than those given in the lessons, begin by 
adding a trifle more to both the bias and straight edges and 
let the proportional increase on each be greater. Or, on the 

175 



other hand, if a skirt that measures less, begin by adding 
a trifle less to both the bias and straight edges, letting the 
proportional increase on each be less. 

For example, in the instructions for the nine-gore flare 
we have taken one which measures four and one-half yards 
around when finished. If one wishes a skirt that measures 
five yards, or one hundred and eighty inches, one-half of 
the finished skirt would measure ninety inches. Then by 
subtracting the width of the plain draft (in this case forty- 
nine inches) from this width, it will leave the amount to 
be added in flare, or forty-one inches. In the instruc- 
tions for the nine-gore flare one and three-fourths inches 
was added to the back edge of the front gore, and this 
was increased on each corresponding edge as we ap- 
proached the back, by two and one-fourth inches; and to 
the front edge of the first side gore we added one and one- 
half inches and increased each of these corresponding 
edges one and one-fourth inches, as we approached the 
back, so in this one which we wish to measure five yards, 
or half a yard more, add two inches to the back edge of 
front gore and let the increase on the corresponding edges 
be two and one-half inches, then on the front edge of the 
first side gore add one and three-fourths inches and make 
the increase on the corresponding edges one and one-half 
inches, which will make thirty-nine inches added to the 
eight edges, which is about as near forty-one inches as we 
can figure it in giving a regular proportion. The addi- 
tion to the front edges will be as follows, 1%, 314, 4% 
and 61/4, and on the back edges of the gores 2, 4^/2, 7 and 
9j/4 inches. 

Then for a nine-gore flare skirt, measuring only four 
yards, decrease in the same proportion. 

These same instructions may be followed out in mak- 
ing a draft for a flare skirt of any number of gores in- 
creasing or decreasing the amount added to edges of the 
gores, also making the increase on the corresponding 
edges greater or less according to the width desired, using 
as the basis the examples given in the lessons and bearing 
in mind the variation mentioned in the beginning of this 
article. 

176 




FIG. 66 



177 



y^ 



ov 



FIG. 57 



178 




FIG. 58 



179 



CHAPTER XIL 



Side-plaited Skirts, drafting those with an equal space between the 
plaits and those with few seams, how to cut when plaits are to 
turn toward the front, how to cut when plaits are to turn to- 
ward the back, stitching and finishing plaited skirts; Skirts 
with plaits placed in at knee depth; Skirts with two, three or 
more plaits between the plain gores; Gored skirts with a side 
or inverted box-plait let into the seams some distance from the 
bottom, how to support the plaits; Shirred Skirts; Skirts with 
Flounces, drafting, cutting and applying a graduated circular 
flounce; plaited, shirred, gathered and tucked flounces and how 
to apply; Skirts of uneven number of gores; Skirts of even num- 
ber of gores; Skirts of even number of gores with a seam in 
center front; Skirts of an even number of gores measuring 
more than three inches at hip line without a seam in center 
front and those whose gores measure less than three inches, 
how to proportion the gores. 



SIDE-PLAITED SKIRTS. 

Under this head may be included skirts plaited in 
clusters and those of single plaits with an equal space be- 
tween them. These skirts, if properly constructed, present 
a very charming appearance and it is very imperative that 
their construction be thoroughly understood. 

For a plaited skirt with an equal space between the 
plaits, to insure the proper slant to the edges of the 
plaits, as well as an economy of goods, draft a pattern for a 
many gored skirt. Make as many gores as will make the 
plaits on hip line the desired width and allow half the depth 
of the plait on either edge of the gores — two inches at the 
hip line sloping off to five inches at the bottom makes a 
good plait. Take, for example, the fifteen gore draft (Fig. 
58), and for a side-plaited skirt with the same distance 

181 



between the plaits (with the exception of the two in front, 
where the distance in this case will be a trifle greater), 
draft a pattern just the same as for the plain gored skirt 
allowing one-half of the width of the plait on either edge 
of the gores, as the other half will be added on the edge 
which joins it. For instance, if the plait is to be two 
inches at the hip line and five inches at the bottom, add 
one inch on either side of the gore at the hip line and 
two and one-half inches on either side of it at the bottom 
and connect the corresponding points at the hip line and 
the bottom and these new lines will be the edges of the 
new gores. If the plaits are to turn toward the front cut 
the new gores just made by placing them on the material 
in the same way as instructed for cutting the plain gored 
skirt. Mark the edges of the new gores on the wrong side 
of the material, and make the allowance for seams outside 
of these marks; also mark the edges of the original gores, 
which were the edges before the allowance for the plait 
was made, as these marks will give the line upon which the 
skirt is to be basted. 

If the plaits are to turn toward the back, cut the gores 
with their back edges on the straight of the goods with the 
exception, of course, of the front gore which is cut in the 
usual way when there is no seam in front. When there is 
a seam in front, cut the front gores the same as the others. 
Then, in drafting the pattern for a skirt where the back of 
the gores is to be cut on the straight of the goods, take out 
the dart so that a little more of its width will be taken off 
of the bias side than off the straight, as instructed in prev- 
ious lessons. That is, more of the dart will be taken off of 
the left-hand side of the straight line above the hip line 
instead of from the right-hand side, as shown in Fig. 58. 

If a skirt with fewer seams is desired and still with 
about an equal distance between the plaits, select the nine- 
gore draft and divide the side gores into two equal parts 
lengthwise by a dotted line (See Fig. 60). Then allow, on 
either edge of the gores, one-half of the width of the plait 
at the hip line and bottom outline of skirt just as before, 
but an allowance for an entire plait must be made at the 
dotted line to which was just referred, as this dotted line 
represents the edge of the plait. 

182 



To make these allowances cut along the edges of the 
original side gores of the nine-gore draft, in this case, and 
also cut along the dotted line dividing the gores lengthwise 
into two equal parts. Now place these parts in their cor- 
rect position just as far apart at the hip line and at the bot- 
tom as the plait is to be at these points. By way of illus- 
tration, to make the plait at hip line two inches and at the 
bottom five inches, place the edges representing the 
center of the gore two inches apart at hip line and five 
inches apart at bottom line, and pin in position, trace along 
the four edges — two inner and two outer edges and then 
mark the allowances on the two outer edges for the plaits 
as instructed, and connect the corresponding points at hip 
line and bottom and cut pattern along the new lines. The 
front gore will be cut as in the plain gore skirt, except the 
allowance for plaits is made on its edge as instructed for 
the others. Also if the inverted plait is used with the back 
gore the allowance for the plaits is made on its front edge 
only, and cut as in the plain gore skirt. Notch each gore 
as before instructed so they will not be confused. Fold the 
new gores lengthwise by placing their edges together so 
that the fold will show the center of the gore, and in cutting 
the material place the pattern so that the center of the gore 
will come on the straight of the goods, pinning it on the 
wrong side of the goods in case it will not show a tracing, 
so the chalk marks will be on the side from which the bast- 
ing is done. 

First, mark the hip line of the original part of the gore 
then the two inner lines, which, when brought together and 
basted will form the plait in the center of the gore. Next, 
mark the lines which were the original edges of the gores. 
These represent the lines upon which to baste up the skirt. 
Lastly, mark along the edges of the new gores which repre- 
sent the lines upon which to baste up the seams at the back 
of the plaits. The allowance for seams is made when cut- 
ting out the gores. Baste the gores together, using a small 
running stitch, for about seven inches below the waist line, 
and from there down one-half inch stitches will be suffi- 
ciently small. 

Next, baste the two inner lines together in each gore 
which will form the plait in the center of the gore. Be- 

183 



fore basting the gores together, carefully pin them at the 
hip line and then proceed as in a plain gore skirt to baste 
and fit. After fitting, the stitching is ready to be done. If 
the plaits are to turn toward the back, in stitching them 
down, see that the edges of the seams between the gores 
turn toward the front of the skirt. Also turn the basted 
plait in the center of the gore so that its underneath edge 
will turn in the same direction. If the plaits are to turn 
toward the front, reverse the order, turning these edges 
toward the back of the skirt. They may be either held or 
basted in position, if the stitching is to come on or very near 
to the edge of the plait, otherwise it will be necessary to 
baste a little distance back from the edge of the plait and as 
far down as it is to be stitched on the outside. 

Stitch the plaits down in the upper part of the skirt 
in any way desired, and then where this stitching discon- 
tinues, baste the seams from the inside of the skirt, which 
will hold the gores together at the lower part of the skirt 
where the plaits fall out, and then stitch. 

Finish the top of the skirt. Leave the plaits basted in 
their full length until the bottom is turned and basted at 
the correct length and press well along this bottom edge 
to show just where the edge of the plaits will come when in 
their correct position, as they are inclined to drop below the 
bottom of the skirt at their edges. If the material will not 
show tracing, in putting in the basting mark at the bottom 
of a plaited skirt, a loop of the thread must be left at the 
edge of each plait long enough to reach across the plait when 
the plait is drawn out. It is important to bear this in mind, 
where the bottom outline is not pressed in, or the length 
would be lost when the plaits were unbasted. After 
pressing or marking the bottom, take out just enough of the 
basting, holding the plaits, to finish the bottom ; rebaste and 
press the plaits, noticing that they are in position at the 
bottom edge of the skirt. Press the skirt thoroughly and 
remove the basting. 

If a skirt with plaits placed in about the knee dspl' 
or below, is desired, allow an extension from, that point on 
the bias edge of the gore, wide enough to make as many and 
as wide plaits as desired. Cover the plaits where they are 
fastened down at the top with a fancy strap or with but- 

184 



tons. Finish the bottom of the skirt in any way preferred. 
Folds make a very pretty finish. Make them on the true 
bias and use them on the double of the goods. They may 
either be stitched on or put on by hand. 

SKIRTS WITH TUCKS OR PLAITS BETWEEN THE 
PLAIN GORES. 

To make a skirt with two tucks between the plain 
gores, in order to preserve the symmetry of the skirt, it 
will be necessary to narrow the original gores on either 
side, decreasing them at the hip line and bottom outline 
just one-half of the space taken up by the tuck and the 
space between the two tucks. For instance, if two inch- 
tucks stitched back one-half inch with one-fourth of an 
inch space between them at the hip line are desired, draft 
as for a seven-gore skirt or any other preferred, and 
measure on either side of the line marking the edge of 
the original gores (See dotted lines Fig. 59), three-eighths 
of an inch in this case, or one-half of three-fourths (as the 
tuck is to be one-half inch wide and the space between them 
is one-fourth of an inch). Make the width at the bottom 
outline sufficient to make a good flare, say one and one- 
half inches in this case, or twice the amount taken up by 
one tuck, and space between the tucks. Connect the cor- 
responding points on the hip line and at the bottom by a 
straight line extending on up to the waist line. Then, 
from the marks on the hip line, draw the curves for the 
darts on the gores by drawing lines parallel to the orig- 
inal curves as far from them as the mark on the hip line 
is from the edges of the gore, or one-half the width of 
one tuck and the space between the two tucks (in this 
case, three-eighths of an inch). (See solid lines on either 
side of the dotted lines Fig. 59.) 

The numbered arrow-head lines in Fig. 59 show the 
edges of the plain gores — number one of the front gore, 
number two the second plain gore, number three the third, 
and the one numbered four and five the back gore and in- 
verted plait respectively. The unnumbered arrow-head 
lines indicate the edges of the wedge-shaped gores. 

Now trace on these new lines and cut both the plain and 
wedge-shaped gores. Trace the edges of each on another 

185 



piece of paper, and the back edges on each piece will show 
where the edge of the tuck is to be turned, and the front 
edges of each will show where the edge of the tuck on 
the gore in front of it will come, if the tucks turn toward 
the back. Otherwise, the order will be reversed — the 
front edge showing where the tuck is to be turned and the 
back edges where the edge of the tuck on the gore back of it 
will come. Now, add to either side of the plain and the 
wedge-shaped gores, at the hip line, one-half of the width 
of the tuck on the double or the width the tuck takes up 
at the hip line (in this case one-half inch), and to make 
the flare sufficient at the bottom add to either edge one and 
one-half inches, or as much as was taken off of either edge 
of the original gore at this point. Connect these corre- 
sponding points on each edge and mark these edges, when 
on material, as they are the lines upon which the skirt will 
be basted. 

Place gores on the material as in a plain skirt, cutting 
with the front edge of each on the straight of the goods 
where the tucks turn toward the front, and the reverse 
where the tucks are to turn toward the back, with the excep- 
tion of the front gore, which is cut as in the plain gore skirt. 
Cut the wedge-shaped gores with the edge representing the 
center fold of the tuck on the straight of the goods. Make 
the allowance for seams when cutting the material. Pro- 
ceed to baste and fit in the usual way, or an easier way is to 
baste the edges first where the tucks turn back, basting the 
full length of the skirt to hold them in position until the 
skirt is finished. If the tucks are to turn toward the back, 
holding the right side of goods toward you turn back the 
edges of the front gore on the inside markings ; likewise at 
corresponding marks at the back or left-hand side of each 
gore, and put the skirt together by basting these edges along 
the inside markings on the front or right-hand side of each 
gore. If tucks are to turn toward the front, reverse the 
order. 

For a skirt with three tucks between the plain gores 
decrease the width of the original gores at the hip line 
and bottom outline in the same proportion as for two 
tucks; that is, decrease the width of the gores at these 
points one-half the space taken up by two tucks and the 

186 



space between them. Proceed to make the pattern for the 
new gores in the same way as before, taking for illustra- 
tion the same width tucks and space as before, at the hip 
line — two one-inch tucks on the double, each taking up 
one-half inch space when made, with one-fourth of an inch 
between the tucks would make one inch taken up by tucks 
and one-half inch in the space between the tucks, making 
one and one-half inches. Then decrease the gores at this 
point one-half of one and one-half or three-fourths of an 
inch, marking on either edge of the original gores as be- 
fore (See dotted lines Fig. 59), allowing as much flare at 
the bottom as is desired (in this case, V/z inches), seeing 
to it, however, in other cases that not enough is added to 
make an overlap at the bottom, when basted. The tucks 
will fall out at the bottom when skirt it finished, but the 
edges should not overlap. In adding the flare at the bot- 
tom for skirt with two tucks decrease the original 
gores an amount equal to twice the width one tuck takes 
up at hip line plus the space between the tucks, or V/z 
inches; therefore, we will follow out the same proportion 
in this case. Then for three tucks decrease the original 
gores at the bottom outline an amount equal to three times 
the width of one tuck and space between two tucks at hip 
line (three-fourths of an inch), or 214 inches. Connect 
the points and draw lines above the hip line, showing 
edges of new gores, as before. Make the allowance on the 
edges of the gores as before — one-half the width of the 
tuck at the hip line, and the flare at the bottom twice the 
width of one tuck and space between two tucks (in this 
case V/z inches). Connect the points and mark the edges 
as before. The center line of the wedge-shaped gores, or 
the line representing the original edges of the gores (See 
dotted lines Fig. 59), is the line representing the edge of 
the center tuck. To make the allowances for it, cut along 
this line and spread it at the hip line the whole width of 
the tuck (in this case, one inch), and the whole width it 
is to be at the bottom (in this case, three inches), re- 
membering to mark these two lines on the material as 
well as the others, for these inner lines on the wedge- 
shaped gore will be basted together. 

187 



Proceed to baste, fit and finish as before instructed. 
Skirts with a greater number of tucks between the plain 
gores may be developed by making calculations in the same 
proportion. 

Gored skirts that have a side plait or an inverted box 
plait let into the seams some distance up from the bottom 
are sometimes troublesome through a tendency of these inlet 
plaits to show below the bottom edge of the skirt, as there 
is nothing to which to sew them. This difficulty may ba 
overcome in this manner: Bind the top of each cluster of 
plaits, and after the skirt is otherwise finished, take a tape 
or a strap of lining and sew it to the top of each cluster, let- 
ting it extend from one to the next all around the inside of 
the skirt. In a light-weight skirt this is generally found to 
be enough, but in a heavy-weight cloth a short tape or strap 
may run diagonally from the top of each cluster to the next 
seam and be firmly sewed there to the wrong side. 

When a plaited skirt is made of the material that will 
launder, the laundering will not be diflnicult if one under- 
stands the correct way of ironing. Do not press the lower 
part of the skirt out flat, but lay each plait as it is pressed 
on a line with the upper portion in position all the way 
to the bottom of the skirt and press it down. Afterwards 
the iron may be run under the plait to smooth the part 
underneath. 

SHIRRED SKIRTS. 

There are several ways in which skirts may be shirred ; 
some are shirred all around the top, while others are shirred 
on the sides and in the back, leaving the front gore plain; 
some have just a few rows of shirring, while others are 
shirred to a depth of five or six inches; some have every 
other gore shirred and the others plain. 

One way to make the shirred skirt is to cut the widths 
of the goods perfectly straight and use enough of them to 
make the skirt plenty full ; or, all the gores may be used by 
making each gore half as wide again as in a plain skirt, 
and then seam them up. Shirrings may be placed equal 
distances apart or in groups. If every other gore is shirred, 
cut the gores to be shirred half as wide again and leave the 
others plain. 

188 



The lines for the shirring must be marked. Use a piece 
of cardboard cut the length the first row of shirring is 
to be from tho top and measure along every two or 
three inches froia the top and mark with crayon or tailors' 
chalk. Mark off the next row in the same manner, using a 
cardboard cut the desired length the rows are to be apart. 
Mark all the rows before beginning to shir. Use a straight 
running thread with which to shir, or a small tuck may be 
made on the right side and a cord run in the tuck to draw it 
up on. If the tucked shirring is used, allow extra length 
for it, according to the width of tucks. (See illustrations 
in a later lesson.) 

Sometimes in soft thin materials, in using the small 
pin tuck shirring, it is best to have a small piece of card- 
board cut just the length the rows are to be apart, and shir 
right along as it is measured off. Hold the cardboard in 
left hand and measure every few inches, then shir up to 
that point of measurement, and so on. 

SKIRTS WITH FLOUNCES. 

To draft a pattern for a flounce the same depth all 
around, extend a draft representing the desired number of 
gores and measure up from the bottom outline on each line 
just the depth that the flounce is desired and connect these 
points, being careful to make the connecting line smooth in 
order to give a pretty outline to the top of the flounce. 
(See long dotted line in Fig. 60.) 

For a graduated flounce mark the depth it is to be in 
front by measuring up from the bottom of the skirt on the 
center front or right edge of paper; likewise measure th^ 
depth it is to be in the back. For example, if it is to be 
nine inches in depth in front and eighteen inches in the back, 
measure up nine inches from the bottom at center of front 
and eighteen inches at the back or on Line 32. Now a 
gradual curve must be made connecting . these two points. 
The distance from one to the other is too great to try to draw 
this curved line without having some points between. These 
may be made by folding the draft so as to divide the flounce 
lengthwise into halves. This is done by folding the nine- 
inch flounce mark over on the midway point of Line 32 be- 
tween the bottom and eighteen-inch mark, letting the lines 

189 



representing the front and back edges fall as they will. It 
will be observed that they will not come on a straight line 
with each other. 

Then, being careful that the paper does not slip, fold 
twice more which will divide it into eighths. Unfold the 
draft and draw lines on the marks made by folding, which 
are seven, dividing both the top and the bottom of the 
flounce into eight equal parts. (See solid lines in Fig. 60.) 
Number these lines 1 to 7, respectively. (See illustration.) 
Then, on Line 4, which is the center one of these lines, meas- 
ure up from the bottom and mark the depth of the flounce 
at this point, which should be one-half of the sum of the 
front and back depths. In this instance the front depth is 
nine inches and the back depth is eighteen inches. Their 
sum is twenty-seven inches, and one-half of this is thirteen 
and one-half inches, therefore measure up thirteen and one- 
half inches on Line 4 and make a point. By finding the 
other lines in the same manner, it would make the increase 
too much near the center of the front and back where the 
curve at the top of the flounce should be the most gradual, 
therefore, make the increase on Line 1 only one-half of an 
inch over the front of the flounce, making its depth nine 
and one-half inches; increase Line 2 one inch and increase 
Lines 3, 4, 5 and 6 each one and one-half inches, then Line 
7 one inch, as marked on illustration. 

Divide space at top and bottom outline of flounce be- 
tween its front edge, the lines just drawn and its back 
edge, into two equal parts, which are indicated by dotted 
lines in Fig. 60. 

This will divide the flounce lengthwise into sixteen 
equal parts as represented by the lines in Fig. 60. Con- 
nect the top of these lines which will result in a smooth line 
for the top of flounce. Cut the flounce off on this line, also 
on bottom and center front line and Line 32, preparatory to 
making the flare for it. 

Make the estimate for the flare in the same manner as 
given for the plain flare skirt — subtract the width of the 
draft at the bottom from the width desired and the differ- 
ence will be the amount to be added to the draft. Remem- 
ber that less flare is put in front and that it gradually in- 
creases toward the back. A flounce about four yards around 

190 



the bottom is sufficient for a plain flared flounce similar to 
the one illustrated in Fig. 60. Now, cut the flounce on all 
the lines, both dotted and solid, beginning at the bottom and 
continuing as near to the top as possible without cutting 
entirely through. This will hold them together, but for fear 
they should get torn apart and misplaced, number all the 
divisions in regular order. 

Pin the first division on a large piece of paper upon 
which the flounce is to be made. Pin it near the top and at 
the bottom, and while holding the second division at the top 
to be sure the top outline of flounce is being preserved, with 
the left hand pull the bottom part of this division back far 
enough to give the desired flare, and pin in place, continuing 
to increase the flare in a regular proportion. In this case 
enough is added in the flare to make the skirt four yards 
around at bottom edge of flounce, therefore, flare according 
to markings at the bottom right hand side of the division 
lines of flounce in Fig. 60. Flare the first and second por- 
tions each one-fourth of an inch and increase one-half 
inch when an increase is made, but do not increase as rap- 
idly as you approach the back or it will be too full there, 
as you will recall considerable flare has already been added 
to the back of the skirt in the inverted plait to which the 
flounce is now being added. In the second two slashes or 
divisions, increasing the flare on the first two by one-half 
inch makes them three-fourths of an inch ; the next two are 
also increased by one-half inch, making them one and one- 
fourth inches; the next four slashes are flared one and 
three-fourths inches, and the last five are flared two and 
one-fourth inches. It is important to pin each division 
carefully, as the upper outline of this new flounce must be 
exactly the same as the one cut from the draft, so that 
when the top of the flared flounce in the material is sewed 
to the lower edge of the skirt, it will fit. 

Cut the flared flounce pattern by cutting along front 
edge, top line of flounce, and back edge. Before cutting its 
lower edge observe that when spreading the slashes to make 
the flare that their back edges extend lower than their front 
edges, so to make an even bottom outline, cut from the low- 
er edge of one to the lower edge of the next one to it. To 
cut flounce from material place center of front on a fold of 

191 



the goods, adding the widths to the flounce by piecing the 
straight edge of one width to the straight edge of another. 
Mark the center front on the material, also along the top, 
bottom and back edges and cut, allowing a seam about three- 
fourths of an inch wide on the back, an allowance on the 
top according to the way it is to be finished and about one 
inch below mark indicating the bottom, if a facing is to 
be used, but if a hem is used, add the width of the hem 
below bottom outline. 

In cutting the gores for this skirt, cut as before in- 
structed and trace each at the bottom where flounce was cut 
off, allowing a seam's width below this tracing when cutting 
material, and when basting up the gores see that these trac- 
ings at the bottom meet each other and that the tracing at 
the top of flounce is basted through these tracings at the 
bottom of the gores, otherwise the skirt length will be 
changed. 

Before basting the flounce on, first seam it up in the 
back and press the seams, then, if the top of the flounce is to 
be finished by rows of stitching, turn the allowance back on 
the tracing from the right side and baste along its edge, then 
pin the flounce on the skirt beginning at the center front of 
each and pin to the back on either side being careful not to 
stretch the top of the flounce, or it will be too large to fit 
on the skirt. 

The top may be finished in as many rows of stitching 
as desired. It may also be finished at the top with braid, a 
strap of the same or contrasting material ,etc., and in such 
cases, to save the extra thickness underneath the finishing, 
do not turn the flounce at top before putting on to the skirt, 
but baste flat, being careful, as before to see that the tracing 
on flounce comes exactly on tracing on skirt. Finish the bot- 
tom of the gores underneath according to the texture of the 
material by notching, binding or overcasting and the bot- 
tom of the flounce just as instructed for finishing any other 
skirt of like material. Flounces are also put on skirts in 
many other ways, such as shirring, plaiting, gathering, 
tucking, etc. Such flounces are cut with little or no differ- 
ence between the top and bottom, the extra fullness at the 
top being taken in as above described. The deeper the 
flounce the more fullnss it will require accordingly. 

192 



SKIRTS OF UNEVEN NUMBER OF GORES. 

As stated before, the seven-gore skirt is the basis used 
in drafting all skirts; therefore, to draft a pattern of any 
number of gores, it is first necessary to draw a light foun- 
dation of the seven-gore skirt according to the measure 
desired, in order that one may have the correct length and 
position of the hip line upon which to build. Then divide 
the hip line according to the number of gores desired. 

Instructions have been given for drafting the five, 
seven, nine and fifteen gored skirts, to illustrate how the 
division of the hip line may be made, and, using these in- 
structions as a basis, one may proceed with this division 
as far as practicable. 

In drafting a pattern for the many-gored skirts of an 
uneven number of gores, after making a light seven-gore 
foundation, proportion the gores similar to instructions for 
fifteen-gore skirt, so that the entire width of the front 
gore will be about one-half inch wider than the others. 
Then, after laying off the width of one-half front gore 
(which is the part that will appear on draft), measure 
the remainder of the hip line and divide into as many equal 
parts as half the number of gores desired in the skirt, 
minus one. Thus, in the eleven-gore skirt, after propor- 
tioning width of one-half the front gore at hip line, divide 
the remainder into five equal parts, in the thirteen-gore 
into six equal parts, in the fifteen into seven parts, in the 
seventeen into eight parts, in the nineteen into nine parts, 
in the twenty-one into ten parts, in the twenty-three into 
eleven parts, etc., making as many divisions as practicable. 

SKIRTS OF EVEN NUMBER OF GORES. 

Draft a pattern for the even number of gores just the 
same as for the uneven when no seam is used in front and 
center back, the change being made in cutting. 

For instance, in a four-gore skirt, use the five-gore 
draft, cutting the front gore with its center and the back 
gore with Line 16 on a fold of the goods. (See Fig. 56.) 
Cut side gores same as instructed for five-gore skirt. 

If a seam is desired in the front and back, omit the 
side gore as represented on five-gore draft, adding its width 

193 



to the front and back gores. Do this by extending Line 19 
below hip line, which will represent the back edge of front 
gores and the front edge of back gores. To cut front gore, 
place right edge of draft oti a straight edge of material, 
trace hip line first, then the darts and waist line; the same 
as in five-gore pattern. Omit Line 17. Trace Line 19 be- 
low the hip line, and the curve above the hip line that marks 
the front edge of the side dart. To cut the back gore, place 
Line 19 on the straight edge of material and trace hip line 
first; then the dart, and the curve above the hip line, that 
marks the back edge of the side dart. (See Fig. 56.) Next 
trace Line 16 and the lines representing the inverted plait, 
if one is desired. 

For a six-gore skirt, use the seven-gore draft, cutting 
the front gore with its center and the back gore with Line 
16 on a fold of the goods. (See Fig. 50, Lesson 9.) Cut 
side gores the same as instructed for seven-gore skirt. 

If a seam is desired in the front and back, make only 
one side gore. As there will now be the upper part of three 
full-sized gores on this draft, of equal size, measure from 
right edge on paper on hip line one-third of one-half of 
hip measure, and draw a new line dividing the space, both 
above and below the hip line between Lines 4 and 8, 
equally. This line represents back edge of front gore and 
front edge of side gore. Divide the remaining space on hip 
line into two equal parts and from this division draw a new 
line which will represent the back edge of the side gore 
and the front edge of the back gore, dividing the space 
above and below the hip line, between Lines 8 and 12, 
equally. Then place darts on these new lines, making the 
sum taken out in both a little less than dart on Line 8, and 
the remainder will be taken off at waist line on back edge 
of the back gore, sloping off to termination of hip line on 
down to bottom of skirt. This will vary according to the 
measures taken and the form of the person, taking out 
more on the back edges than on the front edges. 

For an eight-gore skirt use the nine-gore draft, cutting 
the front gore with its center and back gore with Line 16 
on a fold of the goods. (See Fig. 57.) Cut the side gores 
the same as instructed for nine-gore skirt. 

194 



If a seam is desired in the front and back, make only 
two side gores by dividing the space between Lines 17 and 
19, 19 and 20, 20 and 18, into two equal parts, both above 
and below the hip line. This will throw one-half of the 
width of the first side gore into the front gore, also one- 
half of the original third gore into the back gore, then 
this will make two side gores instead of three, which will 
represent the upper part of four whole gores. Take out 
the darts altogether on the three new lines, proportioning 
them similar to the darts in a seven-gore, except as the 
front and back gores just made are wider (as this repre- 
sents the upper part of whole gores), place a little more 
of the amount taken out in the seven-gore side dart into the 
front and back. It will be observed these new edges of 
front and back gores come nearer the hip, where there is, 
as a rule, more difference between the hip and waist meas- 
ures. 

In making a draft for a skirt with an even number 
of gores, having a seam in front and center back, (after 
making a light seven-gore foundation), divide the hip line 
in draft into half as many equal parts as is desired in the 
entire skirt, and put in the darts according to the meas- 
ures and form of the person for whom the skirt is to be 
made; that is, for a ten-gore, divide the hip line on draft 
into five equal parts, etc. It is not likely, however, that 
one with more than eight gores will be desired. 

To draft a pattern of a skirt for an even number of 
gores without a seam in the front and center back, whose 
number of gores will necessitate dividing the hip line so that 
the width of each gore at hip line will be more than three 
inches, make the width of the gores, including the front 
gore, equal at hip line. First, lay off front and back gores 
on draft, which will be just half the width of the entire 
gores, as the part on draft of these gores will represent just 
half of their width at hip line, then divide the remaining 
space at hip line into just half as many equal parts, less 
one, as the entire number of gores desired. That is for a 
ten-gore skirt of this style, the "remaining space" should 
be divided into four equal parts; in the twelve-gore into 
five equal parts; in the fourteen-gore into six equal parts; 

195 



in the sixteen-gore into seven equal parts, etc., continuing 
in the same way for any numbe.r of gores. 

Likewise for the many gored even number of gores, 
without a seam in front and center back, whose number of 
gores will necessitate dividing the hip line so that the width 
of each gore at hip line will be less than three inches, al- 
ways make the front gore at waist line about three inches, 
as this gore in the many gored skirt should be a little wider 
than the other gores, and it does not look so well narrower 
than three inches at hip line. Then mark off one and one- 
half inches from right edge of the paper on hip line for 
the front gore, as the part on draft will represent one-half 
of the gore. Now, subtract width of front gore (three 
inches) from the entire hip measure, and divide the re- 
mainder into as many equal parts as the number of gores 
desired, less one (as described in the paragraph above) . 
Draw the lines representing the edges of the gores by 
first drawing a line for the back edge of the front gore 
and the front edge of the back, giving them a similar flare 
to those in five, seven, nine and fifteen gore draft (see 
illustration) ; and, after these two lines are drawn, divide 
the space between them at the bottom into as many equal 
parts as the space between these lines on hip line is divided 
and connect these corresponding points on the hip line, and 
at the bottom, making the lines an equal distance below 
hip line. Sea instructions for extending seven-gore draft. 
Take out the darts and draw bottom outline as instructed. 



196 



-^-^ 



FIG. 59 

Showing how to decrease the original gores of a plain seven-gore draft in making a 
draft for a skirt with either two or three tucks between the plain gores. 



19^ 




FIG. 60 



198 



CHAPTER XIII. 



How to finish a Drop or Foundation Skirt, cutting and applying foot 
ruffle and graduated flounce, making and applying accordion- 
plaited flounce; Garments for Maternity wear, underwear, shirt- 
waists, blouse, waist with fitted lining, surplice waist, suitable 
plaited skirt — how to adjust the plaits and finish skirt at top. 
Empire skirt; Circular Skirts, two-piece with seam in center 
front, one-piece, three-piece — two methods of cutting; Finish- 
ing Plackets; Tucks at bottom of skirt; obtaining exact skirt 
length, putting in hem, measuring for tucks and stitching; 
Tunic or Overskirt, one-piece circular, two-piece with seam 
in front, how to trim to make the seaming invisible. 



HOW TO FINISH A DROP OR FOUNDATION SKIRT. 

A drop or foundation skirt may be made of taffeta, 
percaline, nearsilk, or any like substance, and the seven- 
gore skirt is ordinarily used. The seams in a drop skirt are 
usually finished with a French seam as the material is light 
in weight, as a rule. When they are finished in this way, 
baste the skirt so that the seams will come on the right side 
or outside of the skirt, and fit the skirt in the same way. 
This will make the fitting convenient as the seams can be so 
easily altered. When the fitting is completed, take skirt off 
and baste in the alterations as marked. Stitch skirt by 
making the stitching as far from the basting toward the 
edge of the seam as the French seam is to be, then trim 
seam evenly, close to machine stitching, take out the bast- 
ings, turn the seam on the wrong side, crease the edge and 
take off another seam just wide enough to make this sec- 
ond stitching in exactly the same place as skirt was fitted. 

Finish top of skirt, and if a foot ruffle is desired turn 
the bottom in the ordinary way and after making this bot- 

199 



torn line measure up from' this line just one inch and cut 
off along this mark, then cut the foot ruffle two and one- 
fourth inches wide, which by the time it is hemmed and 
French seamed on to the skirt will make up the inch that 
was cut off the skirt length. Make this foot ruffle about 
once and a half the distance around the skirt and cut either 
on the straight or bias. If a braid is desired on it, which 
will make it wear much better, shrink the braid and put 
it on. It is not necessary to baste it. After sewing the 
ends of the foot ruffle together, place it along the braid 
on the machine, turning under a narrow edge of the ruffle 
about one-fourth of an inch from its edges and stitch, 
turning the ends of the braid over each other as in- 
structed in applying braid to the bottom of outside skirts. 
Turn the work and stitch upper edge of braid. Cut this 
ruffle a trifle narrower when a braid is used than when 
hemmed. Divide the distance around the bottom of skirt 
from center of the back into quarters; also divide the 
ruffle in the same way, and mark. Commence in the back 
of skirt to gather on the ruffle, placing the quarter mark 
in each together and in the process of gathering on the 
ruffle see to it that these marks come together and that 
the seams of each face each other. That is, place the 
ruffle on the skirt so that the inside of each will come 
together. If one has a ruffler it can be sewed on and 
gathered at the same time, being careful to keep the edge 
of the ruffle exactly even with the edge of the bottom of 
skirt and make the seam straight in order to keep the 
skirt perfectly even. Finish the French seam as in- 
structed, except instead of taking half of the second seam 
off of both the ruffle and skirt, take all of it off the skirt, 
as it will keep the gathers more even and make a neater 
finish; thus the stitching should come close up to the 
turned edge just outside of where the first seam stitching 
came. 

If a graduated flounce is desired, cut the ruffles and 
make the flounce and apply to the skirt. Ruffles 
set better if cut on the bias. Mark the skirt in 
the front where the top of the flounce will come and also 
in the back and measure the skirt around at these points 
and make a ruffle about once and a half this width, and 

200 



the second ruffle about once and a half the length of the 
first, etc., cutting the widths that compose these ruffles 
wider as they approach the back of the skirt. If it is found 
that the first or top ruffle requires five widths of material 
to make a flounce twelve inches in front and eighteen 
inches in the back composed of three ruffles for the top 
ruffle, cut one width four inches, two widths five inches 
and two widths six inches. Sew together by sewing one of 
the five-inch widths on either side of the four-inch width, 
then a six-inch width on each of the other five-inch widths 
and "circle. That is, make a circle by sewing the ends to- 
gether, being careful that the extra inch in each case will 
come on the same edge of the ruffle. Begin where this 
extra inch projects along the edge and trim by sloping it 
off gradually. Place a mark at the center of the four-inch 
width which is to come in the center of the front, and 
divide in quarters and mark. Make eight widths in the 
second ruffle — three widths four inches wide, two widths 
five inches wide, and three widths six inches wide. Make 
ruffle by sewing the three four-inch widths together, then 
one of the five-inch widths on either end of this length, 
and one of the six-inch widths on each of the five-inch 
widths, observing that the extra width comes on same 
edge, "circle" and trim as before. Place a mark at center of 
the middle four-inch width and quarter. Make the third or 
bottom ruffle in the same way, allowing for it eleven widths 
— four widths four inches wide, four widths five inches 
wide and three widths six inches wide, and place a mark 
at the center of the narrowest space, which will come on 
a seam this time as an even number of widths will come 
on either side of the front. The number of the widths 
may vary according to the fullness desired, as well as the 
number of ruffles in a flounce and their depth. 

The quantity of material required for a flounce will, 
of course, vary according to the width of the material used. 
The flounce may be put together by hemming the bottom 
and top of each and gathering the top edge of one onto the 
bottom edge of the one above it, leaving a little heading 
above the gathering, from one-half to three-eighths of an 
inch. These can be gathered and sewed on by one stitch- 
ing if a ruffler is used and thus much time is saved. Start 

201 



the gathering by beginning in the back of each and see to 
it that the quarter marks come out together. If a braid is 
used on the bottom ruffle of the flounce, as is quite desir- 
able, do not hem its lower edge but apply braid as for foot 
ruffle. Instead of the heading at top of ruffles they may 
be French-seamed together. When the flounce is made, 
gather it on the skirt, beginning at the back of each, hav- 
ing the lower edge of the flounce come even with the bottom 
of the skirt. Cover the edge where it joins on to the skirt 
with ribbon binding or a narrow facing of the same ma- 
terial. Or the top edge of the flounce may be hemmed and 
gathered on with a heading. 

This skirt may also be finished with an accordion- 
plaiting flounce, which may be any prescribed depth. If 
you use accordion-plaiting and do not have a plaiter, you 
will probably have to send it out to be plaited. If you make 
it yourself, cut the goods cross-wise, the depth you wish 
the plaiting to be and sew the pieces together and press 
the seams open. You will need about three and one-half 
times the amount of the width of the skirt where the plait- 
ing is to be applied to the skirt. Be sure and have the 
plaiting an even depth all the way. Hem both edges. The 
lower edge may be left plain or it may be finished with a 
narrow ruching about three-fourths of an inch wide, made 
of the same material as the flounce. Cut the ruching on 
the true bias and either hem both edges or fray them out; 
gather it in the center and stitch to the bottom of the 
plaiting through the gathering thread. After plaiting the 
flounce, join it to the skirt, having the lower edge of the 
flounce come even with the bottom of the skirt; cover the 
edge where it joins on to the skirt with ribbon binding, or 
with a narrow facing of silk. 

As much care should be exercised in the fitting and 
making of these foundation skirts as the outside ones. 

GARMENTS FOR MATERNITY WEAR. 

Garments for maternity wear should be so designed 
that they may be adjusted comfortably to the changing 
figure, and yet retain as trim and tidy an appearance as 
possible. The extra work it requires is well repaid by 
the comfort given and the feeling that one is properly clad. 

202 



Of course, for hygienic reasons, the clothing can and must 
be arranged so that no undue pressure will rest upon any 
part of the body. The natural feeling of depressed spirits 
at this time is somewhat calculated to lead one to become 
more careless about her personal appearance. The fact 
that she goes out less may tend in the same direction, but 
one should not allow this tendency to approach untidiness. 

Underwear should be as light weight as comfort re- 
quires, and drawers and petticoats may be made adjust- 
able by hemming or facing the tops and a tape run 
through the casing, thus formed. A loose-fitting corset 
cover so constructed that it can be drawn in at the waist 
line and top by ribbons run through casing or beading, 
will be more satisfactory if a loose waist is worn. If one 
has been accustomed to wearing a corset continuously be- 
fore this time, it is not necessary that she entirely dis- 
card it now. It is rather difficult, however, to find a sat- 
isfactory corset, but the ones now made especially for 
maternity wear and laced in front, are quite comfortable 
and serve as a support for belts and bands. They are 
soft and pliable, and since the lacing is in front, it can 
be easily adjusted to suit the wearer. 

Shirt waists are rather trying, particularly the plain 
ones, so in summer when thin ones are desired, the selec- 
tion of a model that has plenty of fullness across the 
bust and in the back, will tend to make the increased 
waist size less apparent. A blouse or waist with a fitted 
lining is most becoming. The lining should be arranged 
so that it will be adjustable. This is a very simple 
method. All the seams but the darts are joined in the 
usual manner. The fronts are hemmed or faced and 
featherbone inserted and fastened securely. Use one dart 
in each front. Elastic cloth is sometimes set into these 
darts, or the edges are faced or bound and worked with 
eyelets for lacers. The darts should be boned also on each 
side of eyelets. If one is averse to making eyelets, then 
the eyes that come on the card of hooks and eyes may be 
put on each side of the dart in the same manner as if 
sewing them to a front of a waist, and the cord can be 
laced through these eyes and the edges of the dart drawn 
together as close as is required. 

203 




Fig. 61 



Eyelets are also 
worked down the front, or 
hooks may be sewed to the 
under side at each side, 
letting the hook part come 
toward the inside. The 
front is then laced b\ 
catching the cords around 
the hooks instead of thread- 
ing them through the eye- 
lets or eyes which requires | 
more time and patience. ^ 
A wide underlap should be 
sewed to the left side of 
the front closing so that 
the body may be protected 
when the fronts are not drawn close. A waist closing at 
the front is much more desirable than one closing in the 
back, and the outer material, whether tucked or shirred, 
will always fit satisfactorily over a lining arranged as 
above. (See Fig. 61.) 

A surplice waist is a very becoming style, also a 
model having a bertha collar or stole ends extending to 
the waist will be found to assist in concealing the figure. 
Negligees made of becoming materials and a pretty touch 
given by the addition of lace, insertion, embroidery and 
ribbon will make one appear attractively gowned. The 
soft wool or silk, and plain solid colors are better and 
more appropriate than figured materials. 

The most suitable skirt for wear at this time is one 
with some fullness at the waist and hips and a Maternity 
skirt, to be entirely satisfactory, must have this allow- 
nnce made when it is cut. A deep plait at each side of 
the front width will allow for increasing the waist and 
hip size, and it is advisable to allow an extra plait at 
each side of the center-back also. The skirt should have 
the usual inverted back plait, and the extra plait on 
each side is laid directly over this and then as the size 
of the waist and hips increase, the top plaits are let out 
without making the skirt hang scant in the back. 

204 





An arrangement permitting lengthening the skirt at 
the front and ^-^ 

sides is of as 
much impor- 
tance as the 
provision for 
extra width. 
The skirt 
should be cut 

so t n a t its Fig. 62. Front and Side of Skirt with extension, adjustable casing 

front gore will *°"* arrangement of plaits. 

extend above the waist line three and one-half inches, and 
its first side gore about three and one-fourth inches, and 
its second side gore two inches, sloping off gradually to- 
ward the back gore. In fact, allow each gore to extend 
up far enough above the waist line to run a casing 
around the top for a tape or a draw-string. (See Fig. 
62.) The casing should be a bias strip of lining ma- 
terial, about five-eights of an inch wide after each edge 
is turned under. After basting the seams of the skirt, 
baste the inverted plait in position at each side of the 
placket. 

Try the skirt on and pin the front plaits in po- 
sition, making the seam that joins the front and first side 
gore form the under fold of this plait, and having the 
outer fold turn toward the back. Next pin the extra 
plaits in position on top of the inverted plait at each 
side of the center back. Notice carefully that the skirt 
is lowered sufficiently at front and sides to give an even 
line at the bottom with the back widths. 

Now pin a tape around at the waist line and then 
remove the skirt and trace or mark with colored thread 
at the lower edge of the tape, after which remove the 
tape. Stitch all the seams a;nd press them open except 
those that join the front gore to the first side gores. 
Baste the casing to the inside of the skirt, having its 
lower edge even with the tracing or colored thread that 
marked the position of the tape. Do not extend the cas- 
ing across the seams at each side of the front gore, but 
turn under the raw edge and let it finish on both the 
side and the front gores before the seam is reached. Hem 

205 



the casing in place with loose stitches. Make openings 
across the casing at the place where the seam will come 
when the plait in front is laid on each side, then overcast 
or buttonhole these two openings. Run ribbon or tape 
through the casing, allowing one piece to cross the front 
gore, the ends coming out through the buttonholed open- 
ings. Run a piece of tape into the casing at each side, 
starting at the center back, where it should be tacked se- 
curely, and letting an end hang from the open end of the 
casing just back of the front seam. Tying these two 
ends of tape together will hold the plait in place on the 
inside of skirt while the outer fold may be held by a 
hook and eye or a loop. As the skirt begins to shorten 
across the front and sides, move the casing up toward 
the top. The hook and loop should be moved up also, 
placing them at the new waist line formed by the casing. 
Overcast the raw edge of the material at the top of the 
skirt on the front and side gores, in order to avoid the 
extra thickness that would result if it were hemmed or 
bound. The extra plaits at the back may be arranged 
similar to those in front or a short length of facing may 
be added at the back when they are let out. It is a good 
idea to place about three hooks on the inside of the top 
of the skirt at the back, and three eyes or covered rings 
on the outside of the waist. These will hold the skirt up 
nicely and prevent any separating of skirt and waist. 
If one does not care to go to this much trouble in the 
preparation of such a skirt, just run a tape through the 
casing that will extend around the figure and let it come 
through a small buttonhole opening in the center front 
where the ends can be tied. There are also Maternity 
skirts provided with adjustable extensions for both length 
and width, which can be purchased readymade. 

The Empire skirt worn with a dainty blouse and an 
Empire coat make a very admirable costume for maternity 
wear. Any form of coat a little more than hip length 
will be found more satisfactory than the longer ones. 

206 



CIRCULAR SKIRTS. 

Under this head are those of different number of 
gores, and those shirred, or with small tucks at the top to 
take up the extra fullness at the waist when less differ- 
ence is desired between the width at top and bottom. It 
is impracticable to make a circular skirt of material that 
stretches easily. 

Select a plain gore draft which is best suited to cut 
the style of circular skirt desired. That is, to cut a two- 
piece circular skirt with a seam in front, draft a pattern 
for a four-gore skirt with a seam in the front and place 
the back edge of its front gore to the front edge of the 
back gore together at the waist and hip lines, letting the 
bottom edges of the gores lie as they will, tracing at waist 
line and along the bottom outline of the gores, marking 
off the space between them an even distance from hip line 
and connect in a smooth, even outline. This style may be 
varied by using a double box plait at back, decreasing 
each back gore one-half of the width of this plait. 

A pattern for a one-piece circular skirt may be made 
by first drafting a seven-gore skirt, cutting the gores out 
and notching as instructed, and pinning them on a large 
piece of paper, with the edges of the gores in their proper 
order, letting the edges of each meet at the waist and 
hip lines with the exception of back edge of front gore 
and front edge of first side gore which should just meet 
at waist line and lap one-fourth of an inch at hip lines and 
the bottoms of the gores lie as they will. (See Fig. 63.) 
Measure around the bottom as it stands, and if not wide 
enough a small amount may be added to the back edge of 
the back gore, gradually sloping up to the hip line. Four 
and one-third yards is considered a good width around the 
bottom for a one-piece circular skirt of medium size. The 
one-piece circular skirts are not very satisfactory, as after 
a short time the skirt will sag at the sides and will have 
to be turned up at the bottom. This is on account of 
that part of the skirt coming on the bias. It is an excel- 
lent idea never to hang a circular skirt when not worn, 
as the weight of the skirt itself will tend to make it sag. 
It should be folded lengthwise and kept in a skirt box or 
long drawer. 

- - 207 



If a skirt with a circular front only is desired, place 
the front, first and second side gores together as directed 
in the last paragraph, and then cut the back gores sep- 
arately. Or place the front and first side gores together 
as directed in the one-piece circular, cutting the two as 
one gore, placing the center of the front on the straight 




Fig. 63. Circular Skirt Top, or Circular Skirt Portion of Russian Blouse 

of the goods, trace hip line, waist line and trace curve at 
the back edge above the hip line, which will be the curve 
at the back edge of the original first side gore. Then 
place the second side gore and the back gore together at 
the waist and hip lines the same as those just cut, and 
place the front of this new gore on the straight of the 
goods and trace hip line and the curve above the hip line 
on the front of the gore, which will be the curve at the 

208 




front of the original second side gore. There will be a 
dart taken out at the waist on either side of the skirt in 
these two models. A circular skirt cut after this fashion 
will prevent, to some degree, the sagging referred to 
which occurs in circular skirts. 

Finish off the placket, ---!_.„, 

using canvas in the fly and 
facing when the skirt is of 
heavy material. The placket 
is one of the most important > 

considerations in a well-made 
skirt and should be given > ' , 1 ; 
careful and close attention. ' : i . 

It may make or mar the gen- I 

eral appearance of an entire i 

gown. The skirt may be < ; j 

thrown entirely out of posi- 
tion and given a very careless Fig. 64. Finished pucket 
appearance by the absence of hooks and eyes on the 
placket, or because they are sewed on in a manner as to 
be nearly useless. 

The question of using either 
hooks and eyes or the patent fast- 
eners must be settled by the indi- 
vidual. Many prefer the latter, 
while others would have nothing but 
the former, but both are very good 
and have been used together with 
satisfactory results. Whichever is 
used, see to it that they are sewed 
on firmly and close enough together 
to insure sufficient protection against 
the strain at this point. 
Plackets may be arranged either at the back, front, 
or side of a skirt, depending upon the design, and there 
are many methods of finishing them. The opening should 
be only as large as is necessary to get the skirt easily 
over the hips — the shorter it is, the better, provided it is 
not too short to slip on and off easily. 

The habit-back skirt requires even more careful atten- 
tion at the placket opening than any of the other designs, 

209 




Fig. 65. Placket Showing 
Hooks and Eyes 



I 



^X-^l.,,L 



as the closing must be made as invisible as possible. The 
back seam should appear to continue to the waist line 
and there should be no gaping at the opening. The best 
method of fastening this skirt is as follows: 

Stitch and press the back 
seam, leaving an opening for 
the placket. Lay a canvas 
facing one inch wide on the 
right-hand side from top to 
bottom of the placket. Tur 
the edge of the material ovfei 
this the width of the seam 
and cat-stitch and press. Put 
' I the hooks on equal distances 

' apart — about one inch to in- 

Fig. 66. Placket for Habit-Back Skirt. sure a perfect closing. Cover 
or face this with a piece of lining and blind stitch it down 
neatly by hand. Sew an underlap on the left-hand side and 
mark the places on the underlap for the eyes to correspond 
with the hooks. Push the rings of the eyes back into the 
seam which joins the underlap to the skirt without breaking 
the machine stitching. They may then be sewed to the 
underlap on the wrong side also taking up a thread or 
two of the material at the back part of each hook; sew 
them on firmly. If you care to do so, you may finish the 
eyes by buttonhole stitching all around the part that is 
visible. 

Occasionally the opening in a skirt 



\ 



fT 



x. 



•) 



is on the left-hand side of the front, 
under a tuck or plait. Sometimes an 
extension lap is put on the outside of 
the front closing and an underlap ap- 
plied to the side gore that joins it. 
This extension may be cut any shape 
desired, either with straight lines or 
fancy curves. Cut two laps, having 
one edge of each straight, and then 
stitch them together along the outline 
or curved edges, leaving the straight 
edges open to be sewed to the skirt. 
Work three buttonholes in the extension pucket at Front Gore of skirt, 



i't ■i>'iji"''iirfn*-'; 



J 



Fig. 67. 



210 



lap, one each at the top, center and bottom, then after it 
is sewed to the skirt sew three buttons on the skirt to 
correspond with the buttonholes. The underlap is cut 
and sewed on the side gore the same as any other under- 
lap. If desired, a trimming piece similar in shape to the 
extension lap may be put on the other edge of the gore. 

This extension lap may be allowed on the gore when 
cutting; it is then lined or faced and machine stitched and 
made to fasten upon the side gore, either with button and 
buttonholes or hooks and eyes. In this case, no underlap 
is needed unless desired. 

The placket-hole of a lingerie skirt should be finished 
with a continuous strip of material so that no stitching 
will show on the right side. 

I TUCKS AT BOTTOM OF SKIRT. 

Tucks of various styles and sizes are fashionable at 
different times and they are always appropriate for full 
skirts of soft materials, which seem to demand something 
more than a plain hem for a finish. They are not so 
difficult to put in when the bottom of the skirt is straight 
or nearly so, but the increased fullness often requires the 
bottom of these skirts to be almost circular, so that it is 
sometimes puzzling to know just how to put them in and 
make them lie flat. 

Nun tucks are ordinary tucks but are more difficult to 
accomplish, and on account of their depth, require different 
treatment because where the bottom of the skirt rounds at 
the sides and back, the lower part is naturally fuller than 
the upper. 

Before the skirt can be finished around the bottom, 
or the length marked, it must be stitched or firmly basted 
to the belt so that it cannot sag or fall from the waistline, 
as it is very important to have an even length before put- 
ting in the tucks, so that no alteration will be necessary 
afterwards. Turn the bottom and mark the same as any 
skirt and then baste the skirt up near the bottom, pinning 
the extra depth allowed for tucks up out of the way 
while the skirt is tried on again to be sure it is even. 
When perfectly even, mark the bottom with a thread, let 
the bottom out and measure the shortest distance below 

211 




this thread and make the same depth all the way around. 
That is, if the shortest space below this bottom mark 
measures seven and one-half inches, then measure down 
seven and one-half inches all the way around the skirt 
and cut off any material that comes below the seven and 
one-half inch mark. 

Next, plan the width the hem and tucks are to be 
made, allowing one-quarter of an inch for the turn at the 
top of the hem and from a quarter to a half-inch allow- 
ance that the tucks will take up — according to the material 
— remembering that a tuck will take up goods equal to 
twice its width. That is, what is called a two-inch tuck 
will take up four inches of goods. 

Using a thread to match the 
material, so that it need not be 
taken out, turn the bottom of the 
skirt back from the right side a 
seam's width and as this folded 
edge will be the upper part of the 
hem, make the stitches small so 
Fig. 68. Hem Gathered at Top. that it may be gathered by draw- 
ing the thread enough to make it lie flat against the part 
of the skirt to which it is to be stitched. Cut a piece of 
cardboard twice the depth of the hem desired, notching 
at its center, and measure all around the bottom every few 
inches and mark it at top and center of cardboard. Baste 
the hem close to the bottom edge with small stitches, also, 
baste the upper part of the hem, drawing the gathering 
thread already put in enough to make it lie flat and pinning 
ahead of the basting. 

The next thing to do after the hem is put in is to mark 
off the tucks and baste them. Cut another piece of card- 
board the depth of the desired distance between the top of 
the hem and the first tuck, plus twice the depth of the first 
tuck and make two sets of notches on either side of the 
cardboard — one set marking the distance between the hem 
and the tuck, and the other marking the line where the 
tuck is to be basted in, and the top of the cardboard mark- 
ing the folded edge or center of the first tuck. That is, 
if the distance between top of hem and first tuck is one 
inch and the first tuck is two inches in depth, make the 

212 




notches on the cardboard one inch from its lower edge and 
the second set of notches two inches above the first set. 

Measure all around the 
skirt every few inches and 
mark at both sets of notches 
and at the top of cardboard. 
When these marks are in^ all 
around the skirt, fold the 
edge of the tuck (which 
was the line marked at the 
top of the cardboard), and 
baste close to its edge, then 
baste the tuck in by laying 
the skirt on a table with the 
full part of the skirt upper- 

. 11, 1 1 1 Fig. 6S. Preparing "Nun" Tucks. 

most and baste along the 

mark indicating the depth of the tuck, laying the extra 
fullness in small plaits so it will lie naturally. Then meas- 
ure from the top of this tuck as basted, in the same man- 
ner as before, for as many tucks as desired. 

If, after the tucks are basted in and the skirt fitted 
on, it is observed the material has not taken up quite as 
much as was allowed for it, thus making the skirt a little 
longer than was intended, it can be taken up by stitching 
inside the basting of each tuck just enough to make up 
the difference; on the other hand, if the skirt has taken 
up more than was allowed, stitch outside of the basting of 
the tucks. 

After stitching the hem and tucks, press them well 
on the wrong side. 

TUNIC OR OVERSKIRT. 

The tunic or overskirt of some kind is a very prac- 
tical feature worthy of consideration because of the op- 
portunity it provides for artistic effects in drapery, as 
well as that of making over a dress already on hands, and 
thus bringing it up-to-date. It is cut circular and can be 
varied in many ways at the bottom. To make a pattern 
lay the gores of the seven-gore skirt together with the hip 
lines of each gore just touching each other. Arrange the 
front and first side gore so that there will be a small dart 

213 



between them from hip to waist line; also arrange the 
first and second side gores so that the dart will be just a 
little larger than the one between front and first side gore. 
(See Fig. 70.) The inverted plait may or may not be 
used. It is not used in the illustration. Frequently a 
double-box plait is used instead of the inverted plait, 
whichever one is preferred. The flare below the hip line 




Fig. 70 Tunic or Overskirt 



will depend on how much width or ripple is wanted in the 
overskirt. The dotted curved line represents an overskirt 
with a point in the back and slopes to much less depth in 
the front. The solid line represents an overskirt cut with 
a point each in the front and back, sloping up to less 
depth at the side. 

If the overdress is to be made in one piece, lay 
the pattern with the center front on a lengthwise fold 
and the piecing will come toward the back, where it will 
be less conspicuous. If these piecings are not desired, they 
can be obviated by having a seam down the center front 
by laying the front gore on the selvage. In some material 
this seam can be made almost invisible, while in others an 
inset band of lace, embroidered net or other trimming 

214 



does away with a visible seaming as well as adds to the 
attractiveness of the gown. When using silks or narrow 
material the center front seam will be found more satis- 
factory. After cutting, take up the darts and press very 
carefully. In closing the back seam use a ribbon tape to 
bind it; otherwise, as it is bias, it would soon stretch out 
of shape. Do not stitch the entire length, but leave an 
opening for the placket. Fit the overdress over the skirt 
and baste the edges at the top to the edges of the skirt 
in the proper position, and then put on the skirt band. 

That part of the dress skirt that extends up under 
the overskirt may be made of lining material if the over- 
dress is not transparent. It can be cut circular also, and 
made to follow the outline of the overskirt at the bottom. 
The lower part of dress skirt is then attached to this 
lining. It may be made plain or put on in the shape of 
a flounce, plaited, shirred, or in any way desired. 



215 



CHAPTER XIV. 



Single Box-plaited Skirts; Skirts with single box-plaits set in at the 
seams both full length and at a graduated distance from the 
bottom, how to cut, baste and finish; Double Box-plaited Skirts; 
Triple Box-Plaited Skirts; Irregularities in Skirt Drafting, 
points to be observed in taking measurements, how to propor- 
tion the darts in the different forms, importance of proper 
underwear and correct pose, drafting for those with round ab- 
domen, prominent hips, prominent abdomen, etc.; Variances to 
the general rule of skirt cutting, cutting skirts from striped 
and plaid material; Stitching seams as a trimming, single: 
stiched, broad seam stitched, welt seam, double stitched welt, 
open welt, tucked seam, bound open welt, slot seam — double 
and single stitched, strap seam, imitation strap, raw-edge lapped 
seam, cord seam. 



BOX PLAITED SKIRTS. 

As in side-plaited skirts, the best model is a many- 
gored plain skirt draft, using as many gores as will make 
the plaits at the hip line the desired width. Draft exactly 
as for a plain skirt, and the fifteen-gore pattern will make 
the plaits a good width at the hip. Draw dotted lines 
dividing the length of each gore into equal parts. (See 
Fig. 71.) When cutting the pattern for the new gores, 
make an allowance on each edge of the gore at the hip 
and bottom lines for one-half the depth of the plait, as the 
other half will be added to the gore which joins it. Allow 
enough on the edges to make the skirt about five yards 
around the bottom. 

In cutting the box-plaited gores from the material, 
place center of each plait on the straight of the goods. The 
center of each gore is represented by the dotted lines with 
the exception of the front gore which is cut by placing its 
center or edge of paper on a straight fold of the goods. 
When cutting allow for the seams, after the edge of the 
gore is marked on the material, as these markings will give 
the lines upon which to baste the skirt. 

217 



First trace the hip line and also the edges of the box- 
plaits (which represent the original gore, before allowance 
for plaits were made, above the hip line along the curves 
made by taking out the darts, as well as below). If the 
material will not show tracing, pin the gores to the ma- 
terial along the center and outer lines (or the lines named 
above), then fold the pattern back on the lines one at a 
time and mark along the folded edge on material. In 
drafting and cutting the back box-plaited gore, if the 
inverted plait is used no extra allowance need be made to 
the back edge of the gore, but simply trace or mark as 
instructed for the other gores and cut this gore and the 
inverted plait together, making allowance for plait on 
front edge only. 

Now as the edges of the box-plaits turn away from 
each other, it will be necessary to place a plain gore under- 
neath the edges to which to sew the box-plaits. To cut 
this pattern for the gores on either side of box-plait in 
the center of front gore, trace on another piece of paper, 
the line representing the back edge of the front gore below 
the hip line and the straight line above the hip line, and 
this line just traced will represent the center of the new 
gore. Next trace the waist line which will extend across 
the front dart. Trace the hip line making the width of 
the gore on either side of the center line one-half of the 
width of the plait at this point. Likewise, make the width 
of thg gore at the bottom on either side of the center line 
one-half of the width of the plait at that point. Connect 
these marks with straight lines from bottom to hip and 
extend them on up to waist line and these lines will repre- 
sent the edges of the new gore. Make the same allowance 
for seams when cutting as for the box-plaited gores. Cut 
with center mark on the straight of the goods. Before 
basting the skirt, baste a center mark in each of the gores. 
In this case there will be fifteen box-plaited gores and four- 
teen plain ones. Now fold the edges of the box-plaits back 
and baste to the edge. Baste the gores together in the 
same order as instructions in Lesson 10, pinning a box- 
plaited gore on a plain gore at the hip line and basting its 
edge to the center mark on the plain gore the full length 
of the skirt. 

218 



Pin up the bottom on mark, and then fit, making alter- 
ations as nearly as possible an equal distance from the cen- 
ter of the box-plaits. When the skirt is ready to stitch, if 
the box-plaits are to be stitched on the outside in the upper 
part of the skirt, do this stitching first and then baste the 
seams from the inside of skirt beginning where the stitch- 



FIG. 71 

ing stopped, and continuing on down to the bottom and 
then stitch them. If no stitching is to show from the out- 
side the seams must be basted all the way from the top 
and stitched, and the edges of the plaits will have to be 
held in place by trimming straps or by tacking each edge 
to rows of tape run around on the inside of the skirt, two 
or three rows being sufficient. These are put in just before 

219 



removing the basting, after the skirt is finished. Pin the 
tape to the center front at the hip line and continue to pin, 
raising it on either side as the back is approached. Tack 
the edges of the plaits to it, being careful that the stitches 
do not go through to the outside. The rows of tape may be 
put in from four to six inches apart at the front of the 
skirt, raising toward the back from three to four inches. 

The instructions just given are for full single box- 
plaited skirt. Box-plaits are also set in at the seams of a 
skirt, both full length and at a graduated distance from 
the bottom. Cut the plaits the desired width. One made 
two inches in width at the top of the skirt to five inches 
at the bottom of the skirt is a good slope for a full length 
box-plait on the seams. Fold a piece of paper for a pattern 
the length of the seam upon which it is to be placed includ- 
ing the hem, if one is used, and mark back from this center 
line at the top two inches (in this case) and five inches at 
the bottom and draw a line connecting these two lines and 
trace; cut on the line just made, then open and trace along 
the fold, which is the center of the box-plait. This will 
make the pattern four inches across the top and ten inches 
across the bottom. To cut the box-plait place this center 
mark on the straight of the goods and mark along the 
edges, which will be the line upon which to baste, and make 
the seam allowance outside of these marks. Before basting 
the box-plaits in the seams, baste a center mark the full 
length of each and folding on this mark, pin along near the 
edge to keep the plait straight while basting and see that 
the seam mark on the gores is exactly on the same line 
with the seam line on the plait. Any discrepancy may be 
obviated by making the seam allowance on each exactly the 
same, then if their edges are even the seam marks will be 
on the same line. Sometimes the seams or box-plaits are 
each stitched down an equal distance from the waist line, 
but more frequently they are stitched lower at the front 
seams, gradually raising to the bottom of the placket in the 
back gore. Place pins along each gore as far from the 
waist line as they are to be stitched, and see to it that the 
length on corresponding gores is the same. After these 
points are marked, place the edges of the box-plaits be- 
tween the edges of the gores upon which they are to be, 

220 



and pin from the hip line up. Beginning at the top, baste 
all four edges together as far as the marks, men iruiu 
there down, as the plaits are to fall out below these marks 
when the skirt is finished, make the two seams by basting 
one edge of the plait to the edge of the gore next to it. It 
will be easier to fit by putting the skirt on so the seams 
will come on the outside, providing the person is the same 
size on both sides, otherwise try on in the regular way. 
When the fitting is done, let the seams of the box-plaits out 
or take them in to correspond with the seam after the 
alterations are made and then stitch the seams as basted. 
Before finishing the skirt at the top and turning at the 
bottom, the box-plaits must be basted and pressed into 
position and this is done by first removing the basting from 
the seams and continuing from the inside of the skirt to 
baste the two seams where the plaits are to fall out, as 
one, thus holding both the edges of the plait and the edges 
of the gores together the full length of the skirt. Press 
the seams open as stitched, turning back the two edges on 
either side. To do this without pressing the edges of the 
plait until in position, run a narrow ruler up on the inside 
of the box-plait upon which to press the seam ; dampen and 
press well. Then beginning at the top of the skirt baste 
the center of each box-plait to the center of each seam and 
press into position. Finish the top of skirt and turn the 
bottom while the plaits and seams are still basted and when 
the length is correct, press well at bottom, taking out just 
enough of the basting to finish the skirt at the bottom. 
When finished, press well around the bottom and rebaste 
box-plaits into position, being careful that their edges are 
basted so they will not extend below the bottom of the 
skirt, but just as pressed before finishing the bottom, and 
press again. 

DOUBLE BOX-PLAITED SKIRTS. 
These may of course be varied, and many pretty skirts 
are developed by the use of the double box-plaits. In some 
skirts the front gore only is a double box-plait, the others 
being plain; some have the double box-plait in both front 
and back gores, the side gores being circular, and again 
others have the double box-plait in front, back and side 
gores, with plain panels between. 

221 



In the latter instance, take the eight-gore draft for a 
skirt with no seam in front or center back. Then to cut 
a pattern for the double box-plaited gores measure in from 
either edge of the gore at the hip line the distance the 
edge of the inside box-plait is to be from the edge of the 
outside box-plait. For example, say they are one inch apart 
at hip line and two inches at the bottom outline of skirt, 
then measure in one inch from either edge of the original 
gore on hip line and two inches at the bottom and connect 
these corresponding points, and these new lines will repre- 
sent the edges of the inside box-plait. Also draw a line 
dividing the gore lengthwise into two equal parts and trace 
the hip line Cut out the original gore and in order to 
make the allowance for the inside plaits cut along the lines 
representing the edges of the inside box-plait, pinning the 
center of the double box-plait on another piece of paper 
and the other strips as far from it on either side at the hip 
line and bottom as the depth of the plaits at those points. 
Taking the same width plait as in the box-plaited skirt — 
one inch at hip line and two and one-half inches at the 
bottom — spread the strips two inches apart at hip line and 
five inches at the bottom, being careful to see that the hip 
line of the strips on either side of the center piece are on 
a line with its hip line when the plait is folded in place. 
In the front and back gores where the depth above the hip 
line on their outside edges is the same, both of the outside 
strips are pinned the same to make the plait allowances, but 
on the side gore, where in most cases there is a difference 
in the depth of the outside edges, the strip on the side 
where the depth of the outside edge is the longer must be 
raised up enough to make the hip lines on it and the center 
strip the same when the plait is folded in. Likewise, lower 
the strip on the side where the depth of the outside edge 
is the shorter. Trace on the edges of the three strips of 
paper when adjusted, making an allowance for one-half the 
depth of the side box-plait at hip line and bottom on the 
outside edges of the one representing original edges of the 
gores (in this case one inch at hip line and two and one-half 
inches at the bottom). The other half of the plait must 
be allowed for on either edge of the plain gores which join 
these double box-plaited gores. 

222 



Cut, baste, fit and finish as instructed for the box- 
plaited skirt. 

If the width of the material would necessitate piecing 
the box-plaited gores where the piecings would come on 
the outside of the plaits, make three pieces out of box- 
plaited gore pattern by dividing the space between the cen- 
ter strip and those on either side into two equal parts or 
fold the plait in Dy bringing the edges of these strips to- 
gether and cutting along the underneath fold. Then allow 
a seam on these new edges and place the pattern on the 
material so that the edges of the plaits will come on the 
straight of the goods. The dart may be marked from the 
hip line up, as indicated, or may be fitted by taking the 
dart out on the inside edge of the plait. 

Patterns for triple box-plaited skirts may be drafted 
by using the same proportions. 

IRREGULARITIES IN SKIRT DRAFTING. 

In taking skirt measurements and observing the dif- 
ferent forms one will readily see that average propor- 
tions and average measurements are not one and the 
same thing. For instance, two women may measure 
exactly the same around the hips and yet one of them 
may have acquired most of her inches across her abdo- 
men and the other across her back. The same skirt will 
not fit them both, and if the darts were taken out without 
regard to their form, the first woman's skirt would poke 
forward and upward in front, while the second woman's 
would be short at the back. 

All irregularities must be carefully noted when tak- 
ing the measurements (the importance of which has 
already been explained), and a good way is to make 
a memorandum of the form, such as a prominent abdo- 
men, flat at back, or in front, very large hips, etc., so 
that these things may be recalled and the darts taken 
out accordingly, for no one can make the gores fit at the 
top with no alteration without noting the form of the 
person for whom the skirt is to be made, unless the person 
is normal. 

When drafting the pattern for a person with a prom- 
inent abdomen and flat back, make the second largest dart 
in front and the smallest in the back. It is well, in some 

223 



cases, where the skirt is made of material that will shrink 
well, to cut the edges of the front gore from one-half to 
one inch longer than the front edges of the side gore when 
abdomen is very large and gather with very small stitches 
the depth of the dart and a few inches below and shrink, 
and then baste gores together as usual. 

When drafting the pattern for a person who is flat 
in front, take out a very small dart there. In some rare 
cases none is required. 

The side dart in a draft for a person with a short 
dart length will appear much larger than one with the 
same measures and a longer dart length, and vice versa. 

In some cases one will find a form whose back skirt 
length is shorter than the front length, or about the same, 
and in such cases draft the pattern as previously instructed, 
but in cutting the material, cut the back gore from three- 
fourths to an inch higher in the back, also cut the gore 
next to the back a little higher, as the waist line should 
be changed in such figures to give them a stylish appear- 
ance. To do this raise in the back and adjust the belt 
so that the skirt will dip slightly in front, then to fill 
in the hollow of the figure below the waist line in back a 
pad must be used. It may be necessary to trim it off in 
front after fitting. In drafting the inverted plait for such 
forms it will be necessary to raise Line 33 more than one- 
half inch, so in drafting this plait, in all cases, crease 
back on Line 16 and fold back to Line 32 and trace along 
waist line of back gore (or on the line of allowance above 
waist line, as in this case) so that it will be sure to be 
long enough when the plait is adjusted. 

When a person is more developed on one side than 
another, draft a pattern for the larger side and pad suf- 
ficiently to make both sides alike. 

There are many things which, if carefully observed, 
will make a great difference in the set and appearance 
of one's clothes — corsets, garters, underclothes and the 
way one stands. Buy the best corsets you can afford and 
use good, strong hose supporters at the sides and front 
of your corsets. Those that have a shield-shaped portion 
fitting over the abdomen are especially to be recommended 
to those having a round or prominent abdomen. Make 

224 



your own lingerie, if possible, and see that it sets smoothly 
with very little, if any fullness, over the hips and around 
the waist. 

And, above all, stand firmly on both feet, with the 
weight of the body thrown forward, your shoulders back 
and your abdomen in. Do not let your shoulders drop 
forward and your weight sag to one side. 

Some do not care to take the time to make a separate 
pattern for each customer, especially when rushed with 
work; therefore, when having a draft which will corre- 
spond in waist and hip measures from this, changes may 
be made as to length and different irregularities with very 
good success, although we strongly recommend the draft- 
ing of a pattern for each person, unless one has had 
sufficient practice and experience to make the changes 
so as to give the proper lines. 

For those who have 
had such practice, as 
stated above, select a 
draft with the same 
waist and hip meas- 
ures as the one for 
whom you wish to re- 
vise a pattern. If the 
pattern is too long or 
too short for your 
purpose, it may be al- 
tered by slashing or 
laying plaits in it por- 
tion by portion. (See 
Figs. 72 and 73.) If 
the pattern is too 
long, lay a plait the 
required depth 
straight across each 
gore about six inches 
below the hip line. 

This will leave an un- ' 

evenness on the edses ^^' ^^' ^''*° '•"' '■""s; Fig. 73. when too short 
of the gores, which should be filled in when cutting, as 
indicated by the black background. (See Fig. 72.) 





H/P LINC 



225 



If the pattern is too short, slash each portion at the 
?,ame distance below the hips (six inches) and separate 
the pieces as much as necessary. (See Fig. 73.) 

If the figure you wish to fit is of average propor- 
tions, and they naturally stand correct, you are now ready 
to cut out the material. But for those who are not of 
average proportions and who do not stand correct, some 
changes must be made. There are those with slightly 
rounded abdomen, the decidedly prominent abdomen or 
prominent hips, in place of the flat abdomen, rounded 
hips and erect pose. 

In the first two instances — that is, those with slightly 
rounded or prominent abdomen, the skirt pattern, if 
drafted according to instructions for a normal form, 
would stand out in front to a greater or less degree, 
depending on the size of the abdomen. On the third 
type of woman the prominent hips will make the skirt 
stand out at the sides. All these women have, as a rule, 
flat backs and, as directed in our general instructions, in 
srch cases a small pad should be worn under the corset 

at the back. 

For the woman of 
the first type (round 
abdomen) take the 
side-front gore of 
your pattern and at 
the hip line in the 
back edge of the gore 
take up a dart-shaped 
plait (varying accord- 
ing to size of abdo- 
men) tapering off to 
nothing three-eighths 
of an inch from the 
front edge of gore. 
(See Fig. 74.) This 
alteration may not 
seem worth while, but 
you will find that it 
changes the balance 
of your gore. If it is 
Fig. 75. ForPro^nentHip. ^ e c e s s a r y, do the 

226 "^ 




Fig 74. For Round Abdomen 



same thing to the next side gore, but do not go back of the 
hip. In making these alterations the dart-shaped plait 
may be increased, where necessary, until the back edge 
of the gore above the hip forms a straight line with the 
back edge below the hip (See Fig. 74), but never beyond 
this, as back edge must never become hollow on concave. 
For the woman with the prominent hips, select from 
the pattern the gore whose front edge comes over or 
nearest to the fullest part of the hip. In the seven-gore, 
for example, it would be the second side gore, in the 
nine the side-back gore. (See Fig. 75.) This gore must 
be altered in exactly the same way that the pattern was 
altered for the woman with the round abdomen. (See 
Fig. 74.) 

For the woman with the 
prominent abdomen an allow- 
ance of an inch or so should 
be made on the upper edges 
of the front and side gores, 
tapering the allowance away 
to nothing over the hips, un- 
less pad is worn at back, in 
which case an allowance will 
be needed on all of the gores. 
(See Fig. 76.) Extending the gores up on their orig- 
inal lines will make the waist line smaller, so the side 
edges of the gores, from hip line, must be increased to 
keep waist line original measure. It is a good idea to 
outline the original pattern on your material to be used, 
as a guide in fitting, but leave sufficient material around 
it to raise the waist line and widen the gores as much as 
may be necessary to fit the prominent abdomen and let 
the skirt drop in a straight line to the floor. A woman 
of this type should always wear a flounced petticoat with 
flounce coming well up in front and raising gradually at 
back in order to keep skirt from falling in at bottom. 




Fig. 76. For the Prominent Abdomen 



VARIANCES TO THE GENERAL RULE OF SKIRT 

CUTTING. 

The general rule for cutting skirts is given in Les- 
son 10, but there are exceptions to this, some of which 

227 



are explained in succeeding lessons. In plaited skirts 
try to arrange to have the outside edge of plaits, come 
as nearly as possible on the straight of the goods, as 
they stay in longer and hang better, hence we give in- 
structions to cut a skirt with only one plait at each seam 
by cutting so that the plait will come on the straight of 
the goods. That is, when the plait turns toward the 
back, cut the gores with their back edges on the straight 
of the goods; on the other hand, if the plait is to turn 
toward the front cut the gores with their front edges on 
the straight of goods. It is understood, in the first ex- 
ample that the back of the front gore will be on the bias, 
as it will have to be cut in the usual way, unless there 
is a bias seam in the center. Where two bias seams 
come together, they may be stayed by sewing in a strip 
of material with the seam to prevent sagging. 

Likewise, in the plaited skirt with a plait coming 
in the center of the gore (as explained in Lesson 12), 
cut so the edge of the plait will come on the straight of 
the material and in this way the plaits at the seam will 
be only slightly on the bias, whereas, if the gores were 
cut in the regular way, the allowance for the plait in the 
center making the gores quite large, the plait on one 
of the edges would be very much on the bias. 

Where stripes or plaids are used, great care should 
be taken to match them at the seams from the hip line 
down. A plaid that misses connections by about one- 
half inch say at every seam all the way around is a very 
slipshod-looking affair and manifests either ignorance, 
carelessness or indifference. In stripes the lines, as a rule, 
run lengthwise and match at the seams, forming Vs. 
In plaids the lines run both lengthwise and crosswise and 
should match at seams. In cutting a skirt from a stripe 
or plaid, the center of the gores should practically come 
on the straight of the material. It is better to cut one 
entire side first, cutting the front gore first, and careful- 
ly matching the lines at the seams. Then remove the pat- 
tern and lay the first half of the skirt, portion by por- 
tion, on the material, matching the stripes and plaids at 
all points, before cutting the second half. (See Figs. 77 
and 78.) In doing this be sure to place the right sides 

228 



of the material face to face; otherwise you will have cut 
the two halves for the same side — one of the most fre- 
quent and expensive errors of the amateur seamstress. 

In cutting the front gore from striped or plaid ma- 
terial, great care must be taken in having the center of 
the stripe or plaid in the center of the gore — otherwise 
the skirt will have a one-sided appearance. 

In using a plaid one must work slowly and with 
painstaking care. The matching is not difficult and the 
result amply pays for the labor and trouble. In cutting, 
place hip line of the gores along the same section of 
plaid in each, having the center on the straight of goods 
in the front gore, and practically so in the others (See 
Fig. 78), as explained before. Of course, the plaids are 
not expected to match from the hip line up. In basting 
the skirt together, lay the gores flat on a table, following 
the general instructions, and as there will be two bias 
edges at each seam, the work must, therefore, be handled 
as deftly as possible, taking the greatest care not to 
stretch the edges. 

FINISHING SEAMS. 

There are several different methods of finishing the 
seams in tailored suits which tend to further ornament or 
decorate in addition to any other trimming that may 
have been used. They may be classified as the single 
stitched, double stitched, broad seam stitched, welt seam, 
double stitched welt, open welt or tucked seam, bound open 
welt seam, slot seam, strap seam, imitation strap seam, 
raw-edge lapped seam, and cord seam. Always remember 
when making- a coat suit that the same finish selected for 
the skirt should be carried out in the coat as well. 

The single stitched seam is obtained by first stitch- 
ing an ordinary seam, then press open and stitch again 
with one row of stitching on one side of the seam. (See 
Fig. 79.) The double stitched seam has a row of stitch- 
ing on both sides instead of on one. 

In the broad seam stitched, the seams are cut wider 
so that after the double stitching is in, an additional stitch- 
ing may be added on each side one-half inch from the 
center. (See Fig. 80.) 

229 





Fig. 77 



Fig, 78 



230 




Fig. 79. 
Stitching on One Side of Seam 






Fig. 80. Broad Seam Stitched. 



The welt seam is obtained by cutting wide seam-turn- 
ings and after being 
stitched in the ordinary 
manner, is pressed to 
one side. Then an orna- 
mental row of stitching 
is placed from one- 
fourth to three-eighths 
of an inch from the 
seam. If the material 
is of heavy weight the 
edge of the upper seam 
may be cut away up to 
this row of stitching to 
(See Fig. 81.) 




Fig. 81. Welt Seam 



avoid too many thicknesses. 



The double stitched welt is made just like the welt 
with the exception that 
there is another row of 
stitching on the side of 
the seam about one- 
eighth of an inch from 
the seam. (See Fig. 
82.) 

The open welt or 
tucked seam is stitched 
in a regular seam, but 
instead of being pressed 
on this seam, the mate- 
rial is folded over one- 
half inch beyond the stitching. The ornamental row of 
stitching is then put on from one-fourth to one-half inch 

231 




Fig. 82. Double Stitched Welt 




Fig. 83. Open Welt 



from edge. The other edge is not stitched but is left free, 
and therefore resembles a tuck. This should be pressed 
very flat. (See Fig. 83.) 

The bound open-welt 
is made by binding the 
raw edge of the seam with 
grosgrain ribbon, which 
may be purchased for this 
purpose at any department 
store. The seam is lapped 
well over the opposite piece 
and stitched as near the 
cording of the ribbon as 
possible. (See Fig. 84.) 

A slot seam is made by 
joining the seams as for ani 
ordinary finish. This must! 
be done with a fine basting! 
thread or sewing silk and! 
the seam pressed without! 
being stitched. An under! 
strip of the material is cut! 
about one and one-fourth! 
inches wide and placed di-l 
rectly over the center ofl 
the seam at the back; this 
is stitched to the garment 
from the right side three- 
eights of an inch each side 
of the seam. Remove the 
basting which will free the 
pressed edges. Raise them 
from the under strip and 
stitch each edge and then 
press. (See Fig. 85.) This 
is a double stitched slot 

seam. A single stitch is obtained by leaving off the final 
stitching on the double stitched slot seam. 

For the strap seam, wide seam turnings are allowed 
and the seam is stitched and pressed. The strap is usually 

232 




Fig. 84. Bound Open Welt 




Fig. 85. UouDJe ititched Slot Seam 




about five-eighths of an inch wide when finished, and the 

center is placed di- 
rectly over the seam. 

The wide turnings 

underneath extend 

beyond the stitching 

of the strap so as to 

gradually decrease the 

thickness. (See Fig. 

86.) Where the mate- 
rial is heavy cut away 

the upper edge of 

seam as described in •'■e-^^- strap seam 

the double stitched welt seam. The straps may be made 

on the length of material, but far better results are 

obtained by making them on 
the bias. For a strap five- 
eighths of an inch in width, cut 
as many strips of cloth as will 
be required, each one one and 
one-fourth inches wide. Join 
them and press the seams open, 
but when basting the straps on 
Fig. 87. Imitation Strap Seam the seams of the coat or jacket, 

avoid bringing any of these joinings in a prominent place. 

It would be preferable and denote better workmanship 

to waste a few inches 

and discard the piece 

with the seam in it, if 

necessary. 

An imitation strap 
seam is made by lapping 
the material as much as 
desired, then turning in 
the edge on both right 
and wrong side and 
stitching flat. (See Fig. 
87.) This is used ex- 
tensively on u n I i ne d 
coats and skirts. 

The raw-edge lapped seam is used solely for very 

233 





Fig. 8S. Raw Edge Lapped Seam. 



heavy material which is not likely to fray. The raw edges 
are lapped three-fourths of an inch and the stitching 
placed directly on the edge. If the garment is lined it 

is not necessary to have 
the second row directly 
on the under edge, but it 
may be placed somewhat 
back. (See Fig. 88.) 

A cord seam is illus- 
trated in Fig. 89. The 
seam's edges are both 
pressed to one side and 
an ornamental row of 
stitching added on the 
Fie. 89 right side, far enough 

from the seam to form a raised edge, which will appear 
as corded. 




234 



CHAPTER XV. 



Tailor-made Suits, points to be carefully observed, methods of shrink- 
ing cloth, shrinking colored fabrics to prevent spotting or fad- 
ing; Drafting a Close-fitting Coat; single-breasted, double- 
breasted, drafting the rolled turn-over collar with lapels; The 
Lined Coat; how to lay the pattern on the material; cutting 
the interlining for the fronts and side-fronts; basting the can- 
vas on the material, making and applying hair cloth pad to 
fronts; basting the canvas to the collar, stitching the standing 
part, padding and applying to coat; taping the coat; cutting and 
applying the collar and front facings; how to cut and apply a 
velvet collar facing; interlinings for warmth; padding the shoul- 
ders and around the armhole; making and putting in the sleeves; 
lining the coat, how to cut and baste the portions to the coat 
preparatory to felling; how to cut interlining for sleeve; making 
and putting in the sleeve lining. 



TAILOR-MADE SUITS. 

Until recent years it was considered impractical for 
the home dressmaker to attempt the making of a tailor- 
made suit or gown, but now with increased facilities and 
reliable information, the amateur can produce some very 
creditable results. By observing every detail, however 
small, and following the rules carefully to the very letter, 
she will accomplish results which will be both pleasing to 
herself and friends. 

The work is not so much greater in a tailor-made suit 
than in a draped gown, except the basting, pressing and 
fitting, which must be carefully done, giving each and every 
part its proper consideration. Much depends upon the 
basting and the size of the stitches. Use a very small 
running stitch so that the seams will not gap and the waist 
will set well down to the form. 

235 



The cloth must always be shrunken and sponged be- 
fore it is cut out. Your dealer will probably do this for 
you at a slight extra cost per yard. However, in case you 
have it to do yourself, the following method may be em- 
ployed when shrinking heavy goods: Use a piece of un- 
bleached muslin about one yard longer than the cloth ; also 
use a board from eight to ten inches wide and a little 
longer than the cloth is wide. Dip the muslin in water 
until it is thoroughly wet and then wring as dry as pos- 
sible and spread it out on a large table, smoothing out all 
the wrinkles. Lay the cloth on the wet muslin, first tear- 
ing the selvage off and, if double width goods, leave it 
folded through the center lengthwise so the right sides will 
face each other. Adjust the muslin at the ends of the board 
so that when rolling the cloth on the board the cloth will 
not touch itself. Roll up smoothly on the board, watch- 
ing closely to keep out wrinkles, and leave it rolled from 
two to four hours. Unroll and spread it out on a table or 
some smooth surface to thoroughly dry. You do not have 
to use the hot iron in this method, which makes it more 
preferable than in any other way, although it requires a 
little more time and care. 

If you prefer to use the iron, follow this method : Use 
a large, long table that will not be injured by water, and 
a piece of unbleached muslin about a yard wide and two 
yards long. Place a large ironing blanket upon the table, 
being careful to smooth out all the wrinkles. Lay one 
end of the goods, if single width, right side down upon 
the blanket, and dip the muslin in water, and then wring 
as dry as possible and place over the cloth. Run the iron 
over this several times, then remove the muslin and press 
the goods until almost dry. Shrink only a small portion 
at a time, moving the material until the full length has 
been sponged and pressed. Wet the muslin each time you 
put it on the material. Leave double width goods folded 
with the right sides turned in, and if it is very heavy 
and the steaming process does not go through the second 
fold, repeat the process on the other side after finishing 
one side. 

For colored fabrics that may spot or fade when wet, 
put a handful of salt, or enough vinegar to taste slightly 

236 



acid in the water. When pressing the thinner materials, 
be careful not to draw or stretch either side, but keep 
the threads straight in both the length and width. Canvas 
or haircloth used for interlining must always be shrunk 
before using it. 

DEAFTING A CLOSE-FITTING COAT. 

Outline a front according to instructions given in first 
lesson, omitting the darts. Make the shoulder drop two 
inches instead of one and one-half inches. Draft the back 
right on to the front, continuing the bust line until it is 
the length of one-fourth of bust measure, minus one inch. 
Measure down from the right end of bust line the length 
of under arm measure and draw the center back line. 
Continue this line above bust line until its entire length 
is the length of the back measure, plus one-fourth inch. 
Then draw lines 15, 17 and 18, also neck curve the same 
as described in Lesson 2. (See Fig. 90.) Divide the 
shoulder lines into halves, placing A and B at the division 
points. In the back draft divide the waist line also into 
halves and make Dot C at the division point. To ascertain 
how much to take out of the waist line in the back^ sub- 
tract one-fourth of the entire waist from the waist line in 
the back. In this case it is eight inches. One fourth of 
twenty-four is six, and six from eight leaves two. This 
space must be divided equally at the ends and center of 
waist line. Therefore, draw the center-back and under- 
arm lines each to a point one-half inch from the ends of 
waist line and place Dots F and G at the division points. 
Make Dots D and E each one-half inch from Dot C. 

Find the center of bust line in the back and draw a 
line from D to this point and continue it on up to B. 
Draw a line from E to intersection of the bust line, by 
placing C on end of square on intersection and letting 
square touch E. Draw the under arm line from G to arm- 
hole by placing A curve on G and letting edge of square 
touch armhole at dotted line. Place Dot H as indicated in 
Fig. 90. Measure three-fourths of an inch to the left of H 
and make Dot I and draw the under arm line of the side 
front by placing A on I and letting edge of square touch 
armhole at the intersection of other lines. Next, continue 
the front line or line 1 from waist line until it is 19 inches 

237 



in length below waist line. Now to give a good spring over 
the bust, find midway point between bust and dart lines 
and make a dot and measure to the left of this dot one inch 
and make another dot and draw a line from neck curve 
through this dot on down, making it the length of line 1 
and mark it Line 2. Measure two inches to the right of 
Line 1 on waist line and make Dot J; also measure three 
and one-half inches on dart line and make a dot for top 
of dart. Draw a line from J to this dot by placing A on 
square on J and letting edge of square touch the dot. Then 
draw a straight line on up from this dot to A on shoul- 
der line. Draw a line from J straight across to Line 2 
and place L at this point. Now to get the width of dart, 
measure the waist line in the back from F to D and from 
E to G; also measure from J to L. In this case it meas- 
ures nine and one-half inches. In a coat draft the waist 
measure should be made to measure about four or five 
inches more than the original waist measure. Therefore, 
one-half of the coat should measure about two or two and 
one-half inches more than one-half the waist measure. As 
stated above, the waist line thus far measures nine and 
one-half inches. Hence place the nine and one-half inch 
mark on I and measure to the left on waist line to the 
fourteen-inch mark on square, which will make it just two 
inches more than one-half of waist measure, as one-half 
of twenty-four is twelve. Make a dot at this point and 
then lower it one-fourth of an inch until the distance from 
top of dart is one-fourth inch shorter than from top of 
dart to J, and mark it K. Draw a line from K to the dot 
representing top of dart by placing A curve on K and let- 
ting square touch top of dart. Now place A curve again 
on K and let square touch I and draw the dotted line 
from K to I, which will be the waist line for side front. 
Now squaring on the line from L to J at dot J, draw 
Line 3, making it nineteen inches in length, and connect it 
with Line 2 at the bottom. Again squaring on the line 
from L to J, which will bring the corner of square a little 
below K, draw a line from K to the 19-inch mark and 
mark it Line 4. Lines 1, 2, 3 and 4 in this instance are 
each drawn 19 inches long, while the others are made 20 
inches in length, Draw dotted lines six inches long straight 

238 



down from H and C and place Dots and P, respectively, 
at the ends of these lines. From measure out to the right 
two and one-fourth inches and make Dot Q. Now placing B 
curve on I and letting A curve fall a little below Q, draw a 
line from I to Q. Continue this line from Q by placing cor- 
ner of square at a point about three-fourths of an inch to 
the right of H and letting square touch Q, and draw it to 
the 20-inch mark on square and number it Line 5. Connect 
Lines 4 and 5 at bottom. The space between these lines 
represents the side front gore. Next draw a line from G 
to by placing C on square on G on draft. Squaring on 
the line to Q continue the line from until it is fourteen 
inches long below and mark it Line 6. 

From P measure to the right one and one-fourth 
inches and make Dot R. Draw a line from E to R by 
placing A on E and letting square touch R. Continue this 
line by placing corner of square on C and edge touching 
R and draw it to the 20-inch mark on square. Number it 
Line 7. Connect Lines 6 and 7 at the bottom. The space 
between these lines represent the side back gore. Draw 
a straight line from D to a point one-fourth inch to the 
right of P and continue this line until it is 20 inches long 
by squaring on the line from P to R. Mark this Line 8. 
Continue the dotted center back line until it is 20 inches 
long below^ the waist line and draw a line from F to the 
end of this dotted line and mark it Line 9. 'Connect Lines 
8 and 9 at the bottom. The space between these lines 
represent the back gore. 

If the coat is to be a single-breasted one, extra must 
be allowed for the lap in front. This will require about 
two inches more. If double-breasted, about three inches 
or more. 

To draft a rolled turn-over collar with lapels, first 
measure down from N one-half inch and make Dot 10; 
squaring on Line 1 make a very light dotted line from Dot 10 
out to the left two and one-fourth inches long and make 
a dot, and, squaring on this dotted line, lower the dot one- 
half inch and mark it 11. This dot is made, however, as 
far to the left of Line 1 as one wishes the lapel or over- 
lap. From Dot 11 draw a straight line down the same 
length as Line 2 and parallel with it, if coat is to have a 

239 



straight front. Number this Line 10. From M measure 
to the left one-fourth of an inch and make Dot 12, also 
to the right three-fourths of an inch and make Dot 13. 
Then, squaring on Line 2A, measure up from a point mid- 
way between Dots M and 13 the width of back portion 
of neck, plus one-fourth of an inch for ease (in this case 
two and one-fourth inches) and make Dot 14. Next draw 
a line from Dot 14 to Dot 12, continuing in a straight 
line on down till it touches outside line of coat. Squaring 
on this line just drawn (which is the line showing the collar 
and lapel break in this case) measure from Dot 14 to the 
right one and one-fourth inches and make Dot 15 and to the 
left one and three-fourth inches and make Dot 16. Now 
draw a curved line from Dot 15 on down to Dot 11, through 
Dots 13 and 10. Squaring on this line just drawn from 
10 to 11 extend the line to the left one-half inch and make 
Dot 17. Holding square along same line measure from Dot 
17 to the right one and one-fourth inches and make Dot 
18. Place corner of square on Dot 18 (face up) and its 
edge touching Dot 17 draw a line up one and one-fourth 
inches long and make Dot 19. Now, holding long end of 
square in right hand and short end in left hand, place A 
curve at Dot 19 and move edge of square so that it 
touches Dot 16 and draw a line connecting the two points, 
extending it one-fourth of an inch farther up and make 
Dot 20. Draw a straight line connecting Dots 20 and 
15. The line from 19 to 20 represents the lower edge of 
the turn-over part of the collar when collar is in its nat- 
ural position. The position of the lapels and collar are 
represented by dotted lines. Measure straight down from 
Dot 11 seven inches and make Dot 21. Then, placing C 
curve on square at Dot 17 and moving square so that it 
touches Dot 21, draw a line connecting the points. This 
gives a little flare to the upper part of the lapel. The 
width and shape of collar and lapel may be varied as de- 
sired. (See Fig. 90.) 

The pattern must now be made from the draft and 
the sections cut separately before it is ready for use. The 
back and side-front sections must be traced on another 
piece of paper, while the side-back and front portions may 
be cut from the draft. 

240 



First, trace the collar portion. Begin at Dot 18 and 
trace up to Doi 15 through Dots 10 and 13; then trace to 
Dot 20. Beginning at Dot 18 again, trace up to Dot 19 and 
on up to Dot 20; then trace break line from neck curve 
through Dot 12 to Dot 14. In cutting the collar from the 
material allow ample for finishing. 

Next, pin the draft on another piece of paper very 
carefully so it will not slip. Begin at Dot F and trace up 
to neck line, then trace from D up to B. Next trace from 
F down to end of Line 9, also from D down to bottom of 
Line 8. Then trace the bottom line, also the waist line, 
from D to F, the neck curve and the shoulder line from B 
to neck. Trace the side-front portion next. Begin at Dot 
I and trace up to the armhole and from K up to A. Next 
trace from I down to end of Line 5, and from K down to 
end of Line 4, then the bottom line. Trace the waist line 
from K to I, the armhole curve, and the shoulder line to A. 
Remove the draft and cut along the traced lines on the 
new piece, allowing three-fourths of an inch for seams 
when cutting from material. As stated above, the side- 
back and front portions may be cut from the draft. To 
cut the side-back cut from E up to B and from G to arm- 
hole. Cut from E to end of Line 7 and from G to end of 
Line 6. Then cut the bottom line, also trace the waist 
line from G to E and cut armhole curve and shoulder line 
to B. Next trace and cut the front. Trace waist line from 
J along solid line to Line 2. Next trace Line 2 from waist 
line up to Dot 10 and from waist line down to bottom. As 
the lapel is cut with the coat, to cut coat portion at neck 
begin at Dot 10 and cut along solid line to Dot M (instead 
of 13, which is used for the collar), then the shoulder line 
from M to Dot A, from J to A, also from J to end of Line 
3. Next cut along the lines representing the extension and 
lapel, that is, from end of Line 10 up to Dot 21 and on up 
to Dot 17 and from 17 to Dot 10, then cut along the bot- 
tom of front section from end of Line 10 to Line 3. Trace 
the break line for lapel. When cutting these sections 
from the material make allowance for seams as before. 
When drafting from measurements any larger than these, 
use the drafts as given in Lesson 7. The two-piece back 
and the one-dart front with a small dart like given in 

242 



the princess is preferable, though often stout people will 
prefer the three-piece back, as the three sections tend 
to decrease the apparent size of the figure. 

THE LINED COAT. 

The first important item in the making of this gar- 
ment is to have the cloth properly shrunken, and instruc- 
tions for this have been given in this lesson. 
Tight-fitting coats that closely outline the figure require 
much more care and attention in the making than a semi- 
fitting coat. The measures should be taken a little looser 
over the bust, and a little longer on the shoulder than for 
a dress. 

After drafting the pattern, lay the pieces all out on 
the goods, being careful to place them so they will all run 
the same way of the goods, having the nap run down ; pin 
them in a number of places to the cloth. Be very par- 
ticular to have each piece of the pattern on the right grain 
of the goods; otherwise the coat will twist and draw, and 
no amount of basting and fitting will straighten it. (See 
Fig, 101.) Outline each piece with tailor's chalk and allow 
for large seams. If the cloth is double width, you may be 
able to cut all the pieces economically with the cloth folded 
lengthwise through the center, as it is folded when pur- 
chased. 

If single width, lay the goods out smoothly with the 
wrong side up, and after outlining all the pieces of the pat- 
tern, cut off the length of the cloth containing them. Take 
the remainder of the cloth and reverse it, and lay it out 
with the right side up and place over it the piece on which 
the outlines are marked, with the right side of the latter 
facing the right side of the lower cloth, and be extremely 
careful that the nap of each runs the same way. Pin the 
two widths together smoothly and cut through both thick- 
nesses. 

Cut the fronts and side fronts of the coat from tailors' 
canvas which has been thoroughly shrunken. It should be 
soft and pliable, as it is not intended to stiffen the coat, 
but merely to give it body and support. Cut the canvas the 
same shape as the front along the front and shoulder lines. 
Follow the armhole curve down to the under-arm seam, 

243 




Fig. 91. Canvas and Haircloth 
Applied in Front of Coat 



and down on Line 5 about three 
inches, then slope across from this 
point to the waist line at bottom 
of dart and continue straight down 
to the lower edge. (See Fig. 91.) 
This leaves no canvas at the side 
waist line where it would break 
and cause the coat to wrinkle. Be- 
fore basting stretch the side and 
front edges of side front from a 
point two inches above the waist- 
line to a point two inches below 
the waist-line. Along the under- 
arm edge of the side back, baste a 
strip of cambric about two inches 
wide cut the same shape as the 
side back. Also baste a strip of 
cambric of the same width along 
the extensions of the back and side back or rather at the 
bottom of the sections. (See Fig. 92.) This will give a 
body to the edges and help the tailored effect of the coat. 

Baste the canvas to the wrong 
side of the cloth, then baste all the 
1 seams together in the tracings. Try 
'the coat on, lapping the right front 
over the left so that the two front 
lines will come together. If there is 
to be an interlining it will tighten the 
coat some through the body, so bear 
this in mind. Do not try to fit the 
semi-fitting coat snugly. It should 
hang from the shoulders, curving 
slightly into the figure between the 
bust and hips. It should fit as smooth- 
ly over the hips as possible and still 
allow the figure ample freedom in 
walking. Give the bust and chest all 
the room they will take. A semi-fitting 
coat will break in an ugly fashion at 
waist line if fitted too snugly over hips. If the coat should 
be too large through the body take it in at the s^ams; if 

244 




Fig. 92. How Cambric and 
Canvas are Used. 



too small, let out the underarm and shoulder seams a trifle. 
If one shoulder is higher than the other pad the lower 
one until the two sides are exactly alike. After fitting, 
baste the alterations carefully and try on the coat once 
more to make sure the changes are all right. Stitch the 
seams and clip their edges at all curves so that they will 
lie flat. Press them carefully. 

If the seams are to have straps stitched over them, 
or if they are to be stitched with one or more rows of 
stitching each side of the seam, or as lapped seams, press 
well and then stitch before the lining is put in. 

Now fasten the canvas down on 
the cloth with several more rows of 
basting. You can scarcely do too much 
basting or pressing in a tailor-made 
garment. In fact, that is one of the 
main secrets of a well-made tailored 
suit. To prevent the coat from wrink-i 
ling and breaking over the bust, take a' 
piece of hair cloth and shrink it and 
cut to follow the shape of the front, 
around the neck, shoulder and armhole 
curve, but a few inches smaller, and 
finish it in a point about three inches F's- 93. Haircloth Pad 
above the waist line. Do not make a dart in it, but cut 
out a V-shaped piece to make it fit, and draw the cut 

edges together. (See 
Fig. 93.) Baste a strip 
of cambric over this 
seam and all around the 
edge of the hair cloth to 
hold it in to the canvas, 
and also to cover its raw 
edges. Attach the hair 
cloth to the canvas by 
means of the padding 
Fig. 94. Padding Stitch stltch and hem it to the 

canvas at the bound edges. A padding stitch is made by 
many small stitches about one-half inch long on the can- 
vas side which just barely catch, but do not show through 
on the right side of the cloth. (See Fig. 94.) 

245 






Cut to shape a piece of canvas about three inches 
wide and baste it around the neck at the back; also simi- 
lar pieces around the armholes of the back and under arm 
seams to meet the canvas in front. This holds the coat in 
better position and improves the stitching. (See Fig. 92.) 

The next and most important point in coat construc- 
tion is the collar. The collar, in this case, is- in two pieces, 
vi^ith an outlet seam in the center where alteration may be 
made if necessary. Stitch this seam and press well. Cut 
a piece of canvas the shape of the collar, but three-eighths 
of an inch smaller on all the edges. 

Baste the canvas to 
the wrong side of the 
collar and roll the col- 
lar over on the break 
line. The stand — the 
part of the collar be- ^'"■''- stitching »„ standing Part 

tween the break line and the lower edge — must be stitched 
with several rows of stitching of one-fourth inch apart. 
(See Fig. 95.) The canvas and cloth on the rolled-over 
part of the collar and in the lapels must be caught with 

row after row of padding 
stitches, which may be one-half 
inch long on the canvas side, 
but scarcely visible on the cloth 
side. When making these pad- 
ding stitches, hold the parts 
over the hand, canvas upper- 
most, and roll and shape the 
collar and lapels into the posi- 
tion which they are to occupy. 
By doing this it will prevent 
the cloth from drawing or 
wrinkling on the canvas when 
the coat is worn. 
Turn the edges of the cloth over on the canvas of the 
collar and catch these edges to the canvas. The edges 
should be carefully pressed. Remember that careful press- 
ing at different stages in the construction of a coat is one 
of the most important points. 

Baste the collar flat on the coat, with the canvas side 




Fig. 96. 



Stretch the Collar on Each Side 
of the Back Seam 



246 



uppermost. The neck of the collar should be stretched a 
trifle as it is being basted on the coat. (See Fig. 96.) 
Try the coat on, rolling the collar and lapel into position. 
If necessary the outer edge of the collar may be stretched 
in pressing to make it fit the neck snugly and set per- 
fectly when the coat is on the figure. 

The edges of the lapels and the fronts must be taped 
with tape about one-half inch wide. (See Fig. 96.) This 
must be shrunken before used. After the coat is taped it 
should be pressed along these edges. If the taping is not 
used, then turn the cloth over the edge and catch it to 
the canvas and press. 

Cut a seamless collar facing, letting the line from 
15 to 20 come on a fold of the material. The facings for 
the front should be cut from the draft, cutting both col- 
lar facing and front facing a trifle larger than the draft. 
The front facings should be about one inch wide at the 
shoulder seam and four inches wide over bust. From 
there they may slope away gradually to a width of two 
inches at the bottom. 

Pin the facing inside the coat and over the lapels, 
rolling the lapels and fronts into their natural position, 
making sure that the facings are large enough to cover 
the lapels and fronts when they are turned back. Turn 
the edges of the facing under even with the edges of the 
coat and baste them with great care. Leave the facings 
free at the neck and shoulders and join them to the collar 
facing. Stitch the seams and press them open. 

Place the collar facing over the collar, taking care to 
allow sufficient ease to roll the collar over smoothly. Turn 
the edges of the facing under even with the collar edges, 
and baste them carefully. A row of stitching should run 
close to the edge of the collar, lapels and fronts of the 
coat. A second row may be stitched one-fourth of an inch 
within the first one if desired. If the velvet collar fac- 
ing is used it should be cut from a seamless bias strip 
of velvet, and should be basted to the cloth facing. It 
should reach to the seam joining coat and collar. The 
outer edge should be turned under one-half inch from the 
edge of the collar, allowing a narrow strip of the latter 

247 




Fig. 97. 



to show beyond the velvet. 
If an interlining is 
used it should be the regu- 
lar silk-and-wool interlin- 
ing used by tailors. It is 
light and warm and takes 
up little room. It should 
be cut from the draft, and 
reach just under the front 
facings about three inches 
below the waist line. In 
putting it together do not 

use the ordinary seams, Padding Lower ShouWer. interlining and Sheetwadding 

but lap one edge over the other and baste. Slash the in- 
terlining at the bottom edge up to the waist line to make 
it lie smooth. (See Figs. 97 and 98.) 

Beginning at the back, pin the back interlining por- 
tion inside the coat and catch the edges to the seams of 
the coat with loose basting stitches. Take the next piece 
of interlining and pin it inside the corresponding piece 
of the coat, lap one edge over the other, cutting away su- 
perfluous material, and baste the edges together one over 
the other, avoiding all possible thickness. Repeat this 
method with each piece of the interlining. 

If necessary, pad the shoulders and around the arm- 
hole with sheet wadding. (See Fig. 97.) As many lay- 
ers may be used as necessary, always decreasing them 
gradually at the outer edge, so that they will eventually 
merge into the lines of the coat without any lumps and 
ridges. The padding around the armhole in front should 
be cut in sort of crescent or half-moon. The padding on 
the shoulder should taper to a point half way to the neck. 
The padding should be thinnest at these points and widest 
and thickest around the armhole where it fills in the hol- 
lows. This wadding should be basted in carefully and 
securely so it will not slip. 

Baste and stitch the seams of the sleeves which have 
been cut by the coat sleeve draft. Gather the sleeve at 
the top with two rows of gathering stitches. The first 
row should be three-eighths of an inch from the edge and 
the second one-fourth of an inch from the first. A bias 



248 



strip of canvas about three inches deep should be basted 
to the wrist of the sleeve about three-eighths of an inch 
from the lower edge, and the cloth edge of sleeve is turned 
over and hemmed down to the canvas. Baste the sleeves 
in, allowing the inside seam to come about one and one- 
half inches in front of the under arm seam. Try the coat 
on to see if the sleeves set well. Remove and stitch, hav- 
ing the sleeve seams turn toward the neck. Press the 
seams until they lie perfectly flat. 

Line the coat either with silk or satin. Silk substi- 
tutes may be used where it is an absolute necessity for 
economy. Have the lining match the shade of the cloth. 
A white lining is very pretty and attractive, though not 
so serviceable. Remember, all the stitching and finishing 
of seams must be done before the lining is put in. 

The lining should be cut with 
the coat draft as a guide, making 
any changes in the lining that were 
made in the coat. Cut the lining 
fronts to reach just over the edges 
of the front facings. Allow one- 
half inch on either side of the center 
back for a center back plait. Allow 
a little extra at the side, front and 
side-back seams, for the lining must 
be easy in width and length or it 
will draw the outside of the coat. 

Baste the plait in position in 
the back and baste the lining in the 
back of the coat. Catch the side 
edges flat to the interlining of the 
coat seams with a loose basting 
stitch. Take the next piece of the lining and baste it to 
its corresponding portion of the coat, always keeping the 
lining easier in length and width than the coat itself. 
Turn the back edge of each lining portion under and fell 
or overhand it over the front edge of the adjoining lining 
portion. Clip the edges at the curve in the waist line so 
they will shape themselves easily into the coat. At the 
side-front seam lay a small plait at the shoulder, taper- 

249 




Fig. 99. Front View of Coat Lining 




ing it to nothing at the waist line. 
This removes any possible chance 
of the lining being too tight across 
the chest and bust. At the neck 
let the lining cover the collar 
seam. Turn up the lining at the 
bottom so that about one-half inch 
of the cloth will show. Fell or 
overhand the neck, front and bot- 
tom of the lining neatly with 
small, even stitches. 

Cut the sleeve lining the same 
size as the sleeve itself. A piece 
of cambric six inches deep should 
be sewed in the top of each sleeve 
to hold it out slightly from the 
shoulders. If an interlining is 
used in the sleeve it should be 

cut by the draft, but should only reach to within an 
inch and a half of the side edges of the upper portion 
and about three inches from the top and wrist. Baste 
it to the inside of the lining. The lining is basted and 
stitched separately from the sleeve itself, and then pressed. 
Slip the lining inside the sleeves with the corresponding 
seams together. Turn under the upper edge and baste 
it over on the coat lining, felling it into place afterwards. 
Turn under the wrist edge of the sleeve lining and baste 
it first over the hem, being careful not to get it too short, 
and then fell or overhand it down neatly. A final press- 
ing should be given the coat before it is worn. This coat 
is designed to be worn in the Fall and Winter. The 
Spring and Summer coats do not require the numerous 
linings, interlinings, wadding, etc. 



Fig. 100. Plait and Back View of Lining 



250 




Illustration Showing How to Lay the Pieces of the Coat on the Material. 



251 



CHAPTER XVI. 



The Unlined Coat, how to cut the interlining and what kind to use 
in coats made of the different materials, stitching and finishing 
the seams, cutting and applying the collar and front facings, 
making, putting in the sleeves and finishing the armhole, but- 
tons and simulated buttonholes used as trimming, putting 
weights in bottom of coats of light weight material; Coat Pock- 
ets; The Peplum; Drafting a Tailor's Cushion; Making Fancy 
Coat Collars; An Evening Coat, suitable material, cutting and 
applying the interlining, basting, fitting, taping and stitching 
the coat, cutting and putting in the lining; Drafting an Evening 
Cape, one, two and four-piece, suitable m.aterials, trimming, etc., 
basting, fitting and stitching, preparing the openings for the 
arms and lining. ^ 



THE UNLINED COAT. 

The coat, collar and sleeves, of course, are drafted 
according to instructions already given. Remember to 
shrink all the material before using it. Lay the different 
sections of the draft or pattern on the cloth, as before 
instructed, allowing ample for seams. The fronts will 
require the firmness of an interlining, otherwise they 
will droop and wrinkle. This interlining is from one and 
one-half to two inches wide at the bottom, gradually in- 
creasing in width until it is about four inches wide at 
bust line in the upper part. It should extend out to the 
armhole and to the shoulder seam above the chest. How- 
ever, if the coat is made of heavy material and the per- 
son has a full figure, the interlining need only be placed 
in the first section, and not extend over to the armhole 
in the second section. 

For linen coats the interlining should be of butchers' 
linen. For cloth use the soft pliable taflors' canvas. For 

253 



silk use a lining material about the weight of cotton serge, 
sateen or cotton henrietta in the fronts, and a light weight 
lining canvas or soft crinoline for the collar, sleeve caps 
and wrist. The interlining must always be shrunken like 
the coat material before it is used. Lay the interlining 
on the wrong side of the front sections, pin and then 
baste it in place. It is a good idea to stretch these pieces 
the same as given in the lined coat. Baste all corre- 
.«ponding seams together. Try the coat on lapping the 
fronts until the two front lines come over each other. 
This coat usually requires very little fitting, especially if 
the measures were taken correctly, and the drafting prop- 
erly done. It should set smoothly, giving the figure plenty 
of room, but defining every curve. It must be perfectly 
easy over the bust and fit a trifle more closely over the 
hips. If too snug let out the seams a little, or if too large 
take them up enough to give proper fit. 

It is possible the shoulder seams might cause a little 
difficulty, as they cannot be padded in an unlined coat. 
If one shoulder is higher than the other, fit the higher 
one rather snugly, the lower one rather loosely, and the 
difference between them will hardly be noticeable. Re- 
move coat and if any alterations are to be made, rebaste 
and give the coat a second trying on. Stitch the seams 
on the wrong side for woolen or wash materials, but on 
right side for a silk coat, which must be finished with 
French seams. In the cloth or cotton coat the seams 
must be slashed or notched at the curves so that they will 
lie perfectly flat. In woolen material, the seams may be 
pressed open, the edges bound separately with thin silk or 
seam binding, and stitched again on each side of the seam. 
Or they may be bound together, laid flat against the coat, 
and stitched with one row of stitching. In wash materials 
the seams may be bound and stitched like the cloth coat, 
using a thin lawn the color of the lining for a binding. 
This thin lawn binding can be purchased at the stores in 
three or four colors. 

In a cloth coat the interlining should be caught to the 
fronts with padding stitches. In silk or wash material 
the over and over, or whipping stitch, will hold the inter- 
lining firmly in place. If the front facing extends out to 

254 



the armhole in front, then there must be a yoke lining 
across the back. It should be about six inches deep and 
extend straight across the back. Hem the lower edge and 
baste the yoke to the back of the coat, leaving the lower 
edge free. 

The coat collar has a seam at the center of the back 
which can be let out or taken in to correspond to any 
changes that were made in the neck or shoulder seams of 
the coat. It is drafted the same as given in the lined 
coat. 

Baste and stitch the collar seam and then press it 
open. Cut an interlining the shape of the collar, but 
three-eighths of an inch smaller at all the edges. 

Use the collar draft for this so that the shape will be 
exact and keep the grain line absolutely true. Baste the 
interlining to the collar, holding them both over the hand 
with the interlining on top. Stitch the stand with several 
rows of stitching one-fourth inch apart. (See Fig. 95.) 
In a silk or linen coat stitch the rest of the collar with a 
zigzag row of stitching. In a cloth coat use the padding 
stitches. 

Turn the outer edges of the collar over on the inter- 
lining and catch them down and then press them so that 
they will lie perfectly flat under the collar facing. Baste 
the collar to the coat, interlining uppermost. Stretch the 
collar a little at its neck edge when putting it on so that 
it will fit close to the neck. Try the coat on, rolling the 
collar over at the stand. If the outer edge of the collar 
seems to adhere to the figure too closely over the shoul- 
ders and back of the neck, stretch it a little. Remove coat 
and stitch the collar seam where it joins coat. 

Turn over the front edges of the coat three-eighths 
of an inch, baste them down and then catch to the inter- 
lining. The interlining in the fronts must now be covered 
with a facing. Pin this facing inside the coat, turn under 
the front edges even with the coat edges and baste them 
down very carefully. Be sure that they do not push out 
beyond the edges of the coat. Baste the shoulder and 
collar edges (tf the facing neatly. Stitch once close to 
the edge and again three-eighths of an inch from it. The 

255 



shoulder edges of the back yoke should be turned under 
and felled over the shoulder edge of the facing. 

The collar facing should be cut from a seamless bias 
strip of material. Pin the bias strip over the collar, al- 
lowing it to extend one inch beyond the roll. It should 
start at the seam of the neck. Its outer edge should be 
turned under one-half inch from the outer edge of the 
collar and blind stitched or machine stitched to the collar. 
Its neck edges should be felled into position. 

The bottom of the coat should be turned up about one 
and one-fourth inches for a hem. Baste and stitch the 
sleeve portions together. For the fuller sleeves gather the 
tops with two rows of stitches, which should be uniform 
in size. A bias strip of interlining about three inches 
deep should be basted to the wrist of the sleeve about 
three-eighths of an inch from the lower edge. Turn up 
the lower edge of the sleeve and catch it to the inter- 
lining. Since the sleeves are unlined the wrist must be 
under-faced with a bias strip of the coat material. Turn 
under the lower edge of this facing and blind stitch it to 
the sleeve. Hem or bind the upper edge and catch it to 
the sleeve with a few invisible stitches. 

Cut from the interlining material a crescent-shaped 
piece to be used in the top of the sleeve to prevent its 
falling in against the arm. This should be covered on 
each side with pieces of the coat material. It should ex- 
tend as far as the lower edge of the yoke lining in the 
back and to a point in front one and one-half inches from 
the under arm seam. This is sewed into the coat with 
the sleeve. 

Baste the sleeves in, having the gathers evenly dis- 
tributed, though of course more of the fullness goes on 
top of the shoulder than toward the front and back. Try 
the coat on before stitching the sleeves in to see if the 
gathers are in the right position and the sleeve sets prop- 
erly. The fullness at the top can be shrunken out so that 
it will look perfectly plain, if desired, using the tailor's 
cushion. 

After the sleeves are stitched the seams must be 
neatly bound, the seam turned toward the inner edge and 

256 



pressed flat against the coat; otherwise the top of the 
sleeve will stand up from the arm instead of lying flat 
against it. (See Fig. 102.) The coat is fastened with 
buttons and buttonholes. Buttons 
are generally buttonmolds covered 
with the material of the coat or 
trimming. Occasionally the only 
trimming a coat has are but- 
tons and simulated buttonholes. 
The latter are made of narrow 
strips of braid or silk ribbon, with 
their edges turned in and blind 
stitched together. 

Light weight coats need a weight 
of some sort at the bottom to keep 
them from flying up at every draft. 
Little leaden pieces about the size 
of a quarter can be purchased at the notion counter for this 
purpose. They should be covered with the material of the 
coat and sewed at each seam just inside the hem. 




Fig. 102. Binding Armhole 




Fig. 103. Pocket Slash Stitched 



COAT POCKETS. 

Coats are made either 
with or without pockets. 
When made with they are 
inserted during the making 
of the garment and before 
the lining is put in. 

In a loose front coat a 
pocket is generally inserted 
between the coat and lining 
at one of the front edges on whichever side is more con- 
venient for the wearer. It is made of the same material 
as the lining. The opening for the pocket should begin 
about four inches below the waist line. A great amount 
of care is required to insert a pocket neatly, but much dif- 
ficulty may be obviated if instructions are followed closely. 
The opening or slash may be perpendicular or hori- 
zontal. The same method of inserting is followed in either 
case. 



257 







Fig. 104. Pocket Showing Facings 



Make a mark for the 
slash in the desired posi- 
tion and baste a strip of 
material for a facing 
over this on the out or 
right side of the coat. 
On the wrong side just 
opposite this piece, baste 
a larger piece of stay 
linen. Make two rows of 
stitching one-fourth of 
an inch apart so that the 
mark for the slash will 

come right in the center between the two rows. (See 
Fig. 103.) Cut through between these rows; continu- 
ing the cutting of the facing to the ends. Now pull the 
facing that was put on the right side, through this open- 
ing and baste, allowing only a slight edge of the facing to 
show on the right side. This forms what is called a "welt 
edge." Fasten the two edges of the opening together with 
the overhand stitch and leave them basted until the gar- 
ment is finished as it serves to preserve the correct shape 
of the pockets. Press well. 

Cut the pocket of 
the lining material. It 
is cut in two pieces. The 
lower portion is basted 
to the welt facing and 
the upper portion is 
faced with the strip of 
the material. (See Fig. 
104.) 

Turn the coat on 
the right side and stitch 

: Fie. 105. Keverse Side with Pocket Stitched Around Edge jUSt back Of the Welt On 

each side. This stitch- 
ing also includes the portion of the pocket which has been 
faced with material and previously basted in position. Now 
place both sections of the pocket together and stitch all 
around the edge. (See Fig. 105.) 




258 



In some cases an in- 
and - out pocket - lap is 
used. It is cut any size 
desired and then inserted 
in the opening far 
enough to catch its up- 
per edge in position 
when the welt stitching 
is put in, the pocket be- 
ing included at the same 
time in the sewing. 

There is also what 
is called a patch pocket, 

applied like a patch on the outside of the jacket, 
a very simple matter, as it is just stitched on. 




Fig. 106. in and Out Lap Completed. 



This is 



THE PEPLUM. 
To cut a peplum arrange the gores of a seven-gore 
skirt as given for cutting a skirt yoke pattern or a cir- 
cular skirt, and follow the waist line when cutting. Cut 
any width desired. They are generally left open in the 
back, and some have the inverted plait the same as the 
skirt. They may be lined or unlined. If unlined, finish 
around the edge with a narrow silk facing. Peplums are 
usually attached to the coat by means of a belt which is 
stitched solidly to the coat. Use the stitching silks which 
are made for stitching purposes, as the ordinary sewing 
silk is too fine and sinks into the goods. 

DRAFTING A TAILOR'S CUSHION. 
Draw a straight line about eighteen inches long, and 
mark it Line 1. 



Divide this in the 
center and place 
Dot A at the di- 


^ 


B "^--v.^ 


vision point. From / 
A measure straight / 
up about six and / 
one-half inches and 1 


LIN E 1 


A 


make Dot B. Draw 
an outward curved 


Fig. 107. 


Draft of Tailor's Cushion 



line from left end of Line 1 to B and continue on to right 



259 



end of Line 1 though drawing this line with a little less 
curve than the other. (See Fig. 107.) To cut, lay Line 1 
on a lengthwise fold of the material. Cut two of these 
sections and join them together, leaving an opening about 
six inches long at one end for stuffing. 

The stuffing is made by cutting cotton rags into 
small pieces. Dampen the rags sufficiently to shrink them 
before stuffing; if this precaution is not taken they will 
shrink when cushion is used afterwards in pressing 
dampened garments. Stuff carefully so that the surfaces 
will be smooth and the cushion firm and solid. Saw-dust 
also makes an excellent filler. Close the opening. 

This cushion is used to shrink out any fullness not 
wanted visible such as in the top of sleeves, at elbow, and 
in skirt at waist line and over hips. 

MAKING FANCY COLLARS. 
In making fancy collars with several corners, it is 
often a tedious and difficult task to get the corners turned 
in evenly, so that a neat result will be secured. Nearly 
all collars of this kind are lined and often an interlining 
of crinoline is used. The lining is usually of silk or satin, 
especially when a coat collar. Baste the crinoline por- 
tions to one of the silk portions then baste the upper sec- 
tion and the under section, having the right sides together 




Fig. 108 



and stitch three-eighths of an inch from all the edges, 
following outlines of collar closely. (See Fig. 108.) 
After stitchinsc trim off the collar edges at the points, 



260 



leaving just enough material to hold the edges securely 
together. (See Lines A and B.) The curved part of 
the seams must be clipped or notched up close to the 
stitching so that they will not draw when the collar is 
turned right side out. See notches at C and D. At E 
the collar edge must be slashed almost to the sewing line 
so that it can be turned neatly, otherwise the collar will 
draw here also. 

Now turn the collar right side out with the seam ex- 
actly in the fold. Baste all the edges and press under a 
cloth with a medium warm iron and then stitch it three- 
eighths of an inch from the edge. Adjust to coat accord- 
ing to instructions given in a former lesson. If a rolled- 
over collar is used stitch the stand part with several rows 
of stitching about one-fourth inch apart. 

AN EVENING COAT. 

The evening coat may be drafted according to in- 
structions given for the coat, but instead of cut- 
ting each front and each back in two pieces, leave the 
front in one piece and the back in one piece. There will 
then be the two fronts and the two backs. 

Broadcloths, velvets and satin are used, but the most 
practical is the broadcloth, as it is always in style. The 
color may be chosen according to one's own taste, but the 
soft, pale shades are the most popular. They range in 
rose tints from coral to pink; the champagne colors from 
cream up to light browns, and the paler shades of blue 
and gray. Black is always appropriate, especially for el- 
derly women. When broadcloth is used remember to 
have it sponged before it is used, to prevent its spotting. 
Lay all pieces of the pattern on it with the nap running 
the same way in every piece. The nap should run down 
in broadcloth or panne velvet, but in the other velvet it 
should run up. The trimmings usually consist of satin 
facings for collars and cuffs, fancy braids, cloth or satin- 
covered buttons, etc., etc. The lining should be white to 
protect the gown beneath it. 

Evening coats are not cut full length, but should come 
about ten inches from the floor. This is long enough to 
protect the dress, and yet short enough to protect the col- 

261 



oring of the coat itself. A hem of one and one-fourth 
inches deep should be allowed on the lower edge of each 
section. Besides the material for the coat, there will be 
needed a lining, an interlining of outing flannel or a wool 
interlining, one and one-half yards of sateen for facings, 
a yard of soft crinoline and trimmings for collar and 
cuffs, to suit the taste. 

An all-important point is laying each portion of the 
pattern on the correct grain of the goods. Allow for all 
seams when cutting. Cut a strip of sateen the shape of 
the front of the coat. It should be about six inches wide 
along the front edges, and should extend to the neck, 
shoulder and armhole and down the under arm seam about 
three inches. Cut another piece of the sateen three inches 
wide and the shape of the armhole in the back; also a 
third piece two inches wide the shape of the back at the 
neck. Pin these portions smoothly to the wrong side of 
the material of the coat in their proper positions and 
baste carefully with short stitches. After basting stretch 
the shoulder seams a little which will make the coat fit 
into the curve at the shoulder. This sateen is used instead 
of tailors' canvas, because it is a little softer and more 
pliable. 

Use a tape about one-fourth of an inch wide and sew 
it to the sateen along the edges of the fronts, being care- 
ful that the stitches do not show through on the right 
side of material. The tape must be shrunken before being 
used. Stitch along the shoulder, neck and front edges of 
the coat as close to the raw edge as possible. This will 
hold the cloth and sateen firmly together so that in hand- 
ling it can be managed as one thickness of material. 

First, baste the shoulder and under arm seams to- 
gether, then the center back seam, using about three- 
eighths of an inch for the seam of the latter. Try the 
coat on, lapping the right front over the left front, and 
pin in this position. This coat is loose fitting and must 
hang from the shoulders. If it wrinkles in any way alter it 
according to instructions and illustrations given in Lesson 7. 
Remove and make alterations, if any, and try on again be- 
fore stitching seams to make sure it is right. Stitch the 

262 



seams and then trim them to within three-fourths of an 
inch of the stitching and press open. 

Turn under the front edges of the coat three-eighths 
of an inch and catch them to the sateen ; also turn up the 
bottom edge one and one-fourth inches for a hem, and 
baste. The top edge of the hem need not be turned under 
again as the lining will cover the raw edge. Stitch around 
the bottom about one-fourth of an inch from the edge and 
continue the stitching up the fronts, keeping it the same 
distance from the front edges as from the bottom. This 
stitching also serves to hold the sateen and cloth in one 
thickness in handling. Baste a piece of cambric six inches 
deep in the top of each sleeve to give body and firmness 
to the folds. Instead of gathering the fullness in upper 
edge of sleeve, make three forward and three backward 
turning plaits, large enough to take up the amount of full- 
ness not required by the armhole itself. Evening coat 
sleeves usually have fullness at the lower edge and are 
finished with a large cuff which turns back over the sleeve. 
The fullness at the lower edge should be plaited in folds, 
also. Baste the sleeve seam, stitch and press it open. 
Baste the sleeves in and try coat on to see if they are in 
right position. Remove and stitch the seams and press 
fiat, having the seam turned toward the neck. Use the 
circular cuff draft for cutting the cuffs, following the 
same method of basting in crinoUine, trimming and slash- 
ing the edges, pressing, etc., that were given for the col- 
lar. Join the ends of the cuff after it is made, with in- 
visible stitches to within two and one-half inches of the 
top. Baste the cuff to the sleeve and stitch it three-eighths 
of an inch from the lower edge. Turn up the sleeve and 
cuff just within the row of stitching, and stitch it again 
through the sleeve and the edges of the cuff about one- 
eighth of an inch from the first stitching. Cut lining and 
interlining from sleeve draft. The interlining should ex- 
tend only to within three inches of the upper and lower 
edges of the sleeve, and should be basted securely to the 
wrong side of the lining. After this is done baste the 
seams of the lining together, stitch and press open, and 
then lay the plaits in this lining the same as in the outer 
sleeve. 

263 



The lining and interlining of the coat are cut from 
the coat draft. Baste the interlining sections to the wrong 
side of the lining and then baste the seams, remember- 
ing, of course, to alter these seams the same as coat seams 
were altered. Stitch the seams and trim them off to 
within three-eighths of an inch of the stitching and press 
them open. 

Cut away the interlining three-eighths of an inch 
from the neck and front edges and about two inches from 
the bottom of the lining. Turn the lining up two inches 
with its raw edge turned under a seam's width and baste 
it down and then stitch right through the interlining. This 
will make the lining three-fourths of an inch shorter than 
the coat itself, as it should be, to keep it from slipping 
down and showing below the bottom edge of the coat. 

Now place the lining inside the coat having the in- 
terlining next to inside of coat, of course. Catch the cen- 
ter-back seams of the lining and the coat together with 
long basting stitches, also the shoulder and under arm 
seams in the same manner. Catch the raw edges of the 
neck and fronts of the interlining to the raw edges of the 
coat. Turn the lining edges under a seam's width and 
fell them into position with small stitches. The lower 
edge of the lining should be felled to the coat as far as 
the sateen extends; the rest is left loose. Baste the arm- 
hole edges of the coat, interlining and lining together and 
then slip the sleeve lining inside the sleeve with the seams 
together and the wrong side of the interlining next the 
wrong side of the sleeve. Turn under the upper edge of 
the lining a seam's width and fell it over the body lining. 
Turn under the wrist edge of the lining in the same way 
and fell it neatly to the lower edge of the sleeve. The 
fancy collar may be used for finishing the neck or a shawl 
collar used, or it may be left plain and trimmed in fancy 
braid. 

DRAFTINCx AN EVENING CAPE. 

Evening capes are usually forty-five or fifty-two inches 
in length. To draft a pattern make a square whose edges 
will each be forty-five or fifty-two inches long — whichever 
length desired. Outline the neck curve by laying the front 

264 



and back drafts of a tight-fitting lining shoulder to shoul- 
der having the front edge of front draft on a straight 
line of the square (in Fig. 109 on the line marked 
Center Front). Since these capes do not as a usual thing 
fit close at the neck in front, continue the neck line from 
shoulder down to a point about six inches below where 
the neck curve would naturally be, or draw it according 
to instructions given for drawing the break line in the 
close-fitting coat when lapels are used. Mark the center- 
back line as indicated on illustration, also Figs. A, B and 
C. 

Make a slip knot in a piece of wrapping cord or twine 
and place point of pencil through the loop and draw the 
knot up close to the pencil. Now place the point of pencil 
on C and holding cord firmly on A, swing pencil from C 
to B, drawing the curved line which forms the bottom of 
cape. Be very careful not to let the cord slip from A or 
the line will not be a true curve. If a scalloped bottom 
is preferred instead of a round one, use the dotted lines 
as indicated on illustration. Any number of scallops de- 
sired may be used. The most important feature is to have 
them all of a uniform size. 

The cape may be cut in either one, two or four pieces. 
To cut in one piece lay the center back line on a fold of 
the material. This will probably necessitate piecing on 
small pieces near the bottom of the center front line. If 
wanted in two pieces lay the center back line on the selv- 
ages. This, of course, will make a seam down the center 
back. This method is preferable for the reason that there 
will need be no piecings. To cut in four pieces draw a 
line from a point directly over shoulder at neck curve 
down to a point half way between Dots B and C and cut 
on this line. There will then be two backs and two fronts 
with a seam down center back and one over each shoulder. 
To make the cape fit smoothly at neck over shoulders draw 
the small dart lines as indicated on illustration. 

The most suitable materials for these capes are broad- 
cloth, satin, crepe, moire, ottoman and velvet. The two 
former materials are always fashionable and really more 
economical in the end since they may be used several sea- 
sons. They may be made plain or trimmed to suit one's 

265 



own taste. Braid is used very much now, either in elab- 
orate or simple designs. Fancy collars are a very popu- 
lar finish to these capes. They may be either pointed or 
scalloped or a sailor collar outline. They may be made 
of the same material as the cape or of contrasting color. 
Frequently a cape of broadcloth has a collar of the same 
material braided all over with soutache. Sometimes it is 
a braiding design, which follows the outline of the collar 
and that of the cape. Fur is often used also for the col- 
lar and frequently for the entire cape. The colors range 
in popularity as those given for the evening coat. The 
darker shades are dull red, brown, Prussian blue, gold, 
green, gray and black. The lining should be white, though 
contrasting colors may be used. A deep blue lined with 
red is a very popular combination. Capes for sum- 
mer wear need no lining, therefore an allowance for hems 
must be made on all the edges. In making a cape with a 
lining allow only a seam's width on the edges. The ma- 
terials used for the lining should be of satin or silk. 
There are satins manufactured now that are specially 
wide for the purpose of linings. Silks are narrower, yet 
they come of suflEicient width not to require much piecing. 
The same quantity of material is required for the lining 
as for the cape itself. 

In joining the pieces of the cape, spread them flat on 
the table and pin the edges carefully together, then baste 
them closely. Next baste the darts. Do not baste them in 
a straight line, but in a gradual curve so that their term- 
ination will be smooth, and will not puff. Use very short 
stitches in basting the darts. Try the cape on and if 
there is any adjustment to be made it must be at the 
darts if there are no seams. Of course, if there is a cen- 
ter-back seam or a seam over the shoulders, alterations 
can be made on them. After stitching the seams and 
darts, cut the dart seams or folds open so that they may 
be dampened and pressed. Press them on the edge of 
the ironing board so that it will not leave an impress on 
the right side of the cape. If the material is of silk do 
not dampen, but simply press with a warm iron. If a 
fancy collar is used, line and make it according to in- 
structions already given and baste it in position. It is a 

266 



good idea to baste a bias piece of soft cambric about one 
or one and one-half inches wide to the edges of the cape 
to give it firmness or body, before basting on the collar. 
Shrink it, however, before cutting it. Cut it on the true 
bias so that it will stretch smoothly round the curves. In 
joining the strips do not make a seam, but lap one edge 
over the other and stitch. Baste the cambric just three- 
eighths of an inch within the edges of the cape and press. 

Now pin the collar in position at the center back and 
at the front ends so that the cut edges will come on the 
inside of cape, being careful to pin the edges so that they 

CENTER BACK 

IC 




Fig. 109 

will not stretch or slip while basting. After basting roll 
the collar over and try on. If it fits smoothly, remove 
and stitch the collar, clip the seam edges round the curve 
of the neck so that they will spread when they are turned 
over on the cambric. Baste them down and press well. 

Turn over all the edges of the cape on the cambric, 
clipping them where necessary, and baste them; then 

267 



stitch all around the cape about three-eighths of an inch 
from the edge and press. Of course, if no stitching is 
wanted to show through on the right side, the edges of 
the cape can be cat-stitched to the cambric instead. This 
will hold them just as firmly. 

Now the slash must be made for the hands and arms 
to pass through. If there is a seam over each shoulder 
the openings are left in the seams, but in case there are 
no seams, then the cape must be slashed. Try the cape 
on and indicate on cape at each side just where waist line 
comes and make the slashes at these points. That is, 
slash up about seven and one-half inches and down about 
seven and one-half inches as each opening should be about 
fifteen inches long. Turn under these edges three-eighths 
of an inch at the middle of the slashes and finish the ends 
of the slash with a piece of the lining as described in lin- 
ing and finishing the corners of the fancy collar. Baste 
and press these very carefully to avoid allowing the edges 
to ravel. If there are any trimmings or bandings used, 
put them on before the lining is put in, also the hooks and 
eyes. Alternate these, instead of having all hooks on one 
side and all eyes on the other, as it makes a fastening 
that will not open by itself. 

Now make the lining an exact duplicate of the cape. 
Turn in the edges of the slashes a trifie deeper than those 
of the cape, finishing ends as given above. Press the 
seams and darts open. Pin the lining to position down 
the center seam. Before basting the lining to position, 
sew the seam edges of lining and cape together with a 
running stitch. This will tend to hold the lining firmly 
in position. 

Baste the lining smoothly to the cape around the 
outer edges and round the edges of the slashes. To do 
this properly, spread the work out smoothly on a table. 
Turn under all the edges of the lining and fell them down 
neatly. Slip the lining under the prongs of the hooks and 
cover the sewing of hooks and eyes. Make all these fell- 
ing stitches as invisible as possible. Several rows of 
stitching round the edges of the cape are often used as 
a trimming. 



268 



CHAPTER XVIL 



Russian Blouse Coat, drafting a pattern for the upper part, with and 
without a dart in front, also, how to draft a tight-fitted upper 
portion with two darts in front; drafting the skirt portion of 
coat and fitted belt; how to draft with a V-shaped neck; cutting 
the portions of coat; cutting the interlining, fitting, making and 
finishing the coat; Drafting a Tight-fitting Princess, tracing and 
cutting the different sections, how to cut and make the lining 
when used, finishing the bottom of princess; how to cut the 
sections for a high-waist line princess; panel front princess with 
plaited lower skirt portion; semi-fitting princess with long- waist 
effect, panel front and flounce; constructing, trimming and fin- 
ishing; Wrappers, to make a pattern, etc.; Dressing Sacques; 
Matching Figures and Plaids. 



RUSSIAN BLOUSE COAT. 

To make draft for the upper part of Russian blouse 
proceed to outline a front as instructed in Lesson I. Also 
make back draft as in Lesson 2, except that the divisions 
for the center back and side portions should be omitted 
and leave Line 16 seven inches long by taking off only 
one-half of an inch on either end instead of three-fourths. 

To give ample fullness across bust, measure from a 
point midway between Dots B and F to the left one inch 
and make a dot. Draw a line from the junction of Lines 
] and 2 through this dot, continuing until it meets the 
waist line, which is also extended beyond Line 1, and 
where no dart is used, extend it one inch beyond waist 
line to give ease in length of front, and in that case, the 
lower line in Fig. 110 represents the waist line. 

By drawing this line which we will call Line 1-A, it 
will increase the neck measure on draft one-fourth of an 
inch, which is necessary in an outside garment. 

When a dart is desired, to locate the top of it meas- 
ure from Line 1 to the right on dart line one-half the 
chest measure plus one-half of an inch. Measure the same 
distance from Line 1 to the right along waist line, to 

269 



locate center of dart, and from this point measure out 
one and one-fourth inches on either side and make dots. 
Draw lines connecting these dots with point representing 
the top of dart. (See Fig. 110.) Measure Line 11 and 
extend Line 12 to correspond to it in length, drawing a 
line from its termination up to Dot E. The solid line 



LINE, z 




Fig. 110 

from E to end 6f Line 12 and to end of Line 11 and the 
dotted line from there on to Line 1-A represents the waist 
line when a dart is used. This draft will give a slight 
fullness at waist line in back, between dart and Line 1-A 
and ease between Line 12 and underarm line. 

In making a tight fitted upper portion, make Line 
16 one inch less than one-fourth the entire waist meas- 
ure; that is, for a 24-inch waist measure, make Line 16 
five inches long. To do this take off one inch from its 
right end and two inches from left end, in this case. In- 
troduce two darts in front, taking them out as in Lesson 
1, adding to them an amount equal to the distance at 
waist line between Line 1 and Line 1-A. 

270 



For skirt portion of Russion blouse see Fig. 111. To 
make this, draft top of seven-gore skirt by the required 
measurements, according to instructions in Lesson 9. 




Fig. 111. Skirt Portion of Russian Blouse or Top of Four-Gore Skirt with Seam in Center Front. 



Leave front and side-front gores as drafted. Cut along 
lines representing edges of original side-back and back 
gores. Pin these portions on another piece of paper. 
Taking the same measurements as used in Lesson 9 for 

271 



example, the front dart would be one and one-fourth 
inches wide; next placing original side-back gore so that 
left end of its hip line will just meet right end of orig- 
inal side-front gore, swing bottom out to the right so that 
six inches below hip line these portions will stand one 
inch apart and one and one-fourth inches at waist line, 
and pin in this position. Also, placing original back gore 
so that left end of its hip line will just meet right end 
of original side-back portion, swing bottom out to the 
right so that six inches below the hip line these portions 
will stand three-fourths of an inch apart and one inch at 
waist line. The line representing the back edge of back 
gore should be raised one-half inch or more as required, 
sloping it off gradually to original waist line. (See Fig. 
111.) The dotted line near top of original side-back and 
back gores, also, across inverted plait indicate their length 
above hip line before any extra was added. The inverted 
plait may or may not be used. 

The dart may be taken out at the side or a seam 
used here extending to bottom, whichever is desired. The 
space indicated by front and back darts in Fig. Ill is to 
be taken in in fullness and shrunken out at the waist line, 
which can be done only in material that will shrink well. 
In using non-shrinkable goods such as satin, silks, linens, 
etc., one-half of front dart may be taken off of front line 
and the remainder in side dart. The back dart may be 
eased in belt or if found too much, in some forms and 
some materials, the back line may be turned under a 
little. The same may be used for the four-gore skirt. 

For a circular skirt portion use top of circular skirt 
as shown in Fig. 63 in Lesson 13. 

To draft a fitted belt draw a parallelogram making 
the top and lower edges each the length of one-half of 
waist measure, plus one inch, and the ends each three 
inches. This will make a belt two inches wide. Number 
them Lines 1, 2, 3 //A/e / 
and 4, respectively. 
(See Fig. 112.) 
Find the center 
of Lines 1 and 3 
and place A and B 

272 




at the division points. Measure up one inch from the 
bottom of Line 4 and make Dot C; likewise measure down 
one inch from the top of Line 2 and make Dot D. Meas- 
ure down one-half inch from A and up one-half inch 
from B and make Dots E and F, respectively. Now, plac- 
ing A on square at the junction of Lines 1 and 4 and 
letting its edge touch E, draw a line from the junction 
of these lines to E. Move square down so that A will 
touch C, letting its edge touch F, and draw a line from 
C to F. Reverse square and place A curve on D and let 
its edge touch E and continue the line from E to D. 
Move square down so that A curve will be at. the junc- 
tion of Lines 2 and 3 and let its edge touch F, and con- 
tinue the line from F to the junction of Lines 2 and 3. 
Measure one-fourth inch to the left of D and make Dot 
G and draw a line from G to junction of Lines 2 and 3. 
This will give just a hint of a point in front when the 
ends meet. It may be made more pointed or cut in a 
more fancy shape, if desired. Allow a seam's width on 
all the edges when cutting. Line 4 from C to junction 
of Lines 1 and 4 is laid on a fold of the material. 

The coat may be drafted with the open or V-shaped 
neck, the plain coat sleeve and the longer peplum or skirt 
portion. Or it can be drafted with the standing collar, 
bishop sleeve and short peplum. Both styles are equally 
good. The former is preferable for spring wear as the 
open neck is more comfortable than the standing collar. 
To draft a V-shaped neck draw a line from M to the 
junction of Lines I-A and 4. This may be drawn straight 
or slightly curved. 

The front is laid with Line 1-A on the selvage. If 
no seam is desired in the back, lay the center back line 
on a fold of the material. The front skirt section is laid 
with its front edge on the selvage and the back skirt sec- 
tion with its center on the straight of the material. The 
center of each sleeve portion is also laid on the straight 
of the goods as in the close-fitting coat instructions. Trace 
all the lines and allow good, big seams when cutting. 

It is advisable to use an interlining to give body and 
firmness to the coat edges and to hold it out from the 
figure over the hollow places. If the material is silk the 

273 



interlining may be of sateen, cotton serge or cotton henr^- 
etta; if the material is linen then use the butcher's linen. 
French canvas is the best interlining for cloth and velvet. 
It is cut to shape around the armhole in the back, and 
across the chest in front, up to shoulder line, but is cut 
away under the arm as described and illustrated in Les- 
son 15. If the standing collar is used the neck edge of 
the back should have a piece about two inches deep run- 
ning straight across the shoulders, but if the open neck 
is used it is finished with the flat collar facing which 
has an interlining itself. These pieces of interlining are 
basted in place on the front and back of the blouse be- 
fore the coat is basted together. 

Run a gathering thread along the bottom of the 
fronts and back three-eighths of an inch from the lower 
edge, and another gathering thread about two inches 
above the first. Now baste the diflferent waist sections 
together, being very careful to have the waist lines meet. 
Cut a belt of both the material and interlining and baste 
the latter to the wrong side of the former. Cut the in- 
terlining away three-eighths of an inch from the edges of 
the outside belt and turn the outer edges over the inter- 
lining and catch them down to it. Place the belt over 
the blouse with its lower edge three-eighths of an inch 
from the lower edge of the jacket and baste both the 
upper and lower edges in position, pushing most of the 
fullness of the blouse well toward the front and simply 
ease it into the belt under the arm and across the back. 
Of course, if the darts are used it will be tight-fitting in 
front, and it is eased into the belt along here also. 

Try the coat on and pin fronts together on traced or 
marked lines. The upper part of the blouse should set 
easily over the bust and shoulders without wrinkling or 
drawing. The belt should be snug but not tight and should 
come at the natural waist line. If any changes are to be 
made, make them at the shoulder and under arm seam. 
If belt is too high or too low, lower or raise it until it is 
in correct position. Remove and baste in any alterations 
and try on again to make certain that it is right before 
stitching the seams. If the material is of heavy weight 
it can be cut away from underneath the belt after the 

274 



blouse has been fitted and stitched, to avoid bulkiness at 
the waist line. 

The next step is to finish the front edges. Cut away 
the canvas interlining three-eighths of an inch from the 
front edges of the coat and then baste a cotton tape along 
the neck and front edges of the interlining. This tape 
should be one-fourth inch in width and should be shrunk- 
en before it is used. Dip it in water and press dry. Turn 
the edges of the coat back over the tape and catch them 
to the canvas. When turning the neck edge, the cloth 
should be slashed occasionally so that it will lie flat. Put 
in two rows of stitching, one row about one-eighth of an 
inch from the edge and the other one-fourth of an inch 
from the first row. 

Hooks should be sewed securely to the edge of the 
right front and eyes to the edge of the left front — the 
hooks one-eighth of an inch back and the eyes one-eighth 
of an inch out. 

The flat collar and its interlining are cut to shape 
by that part of the front of the waist around the neck 
and down to the V-shape point in front. Baste the inter- 
lining to the cloth collar and then cut it three-eighths of 
an inch smaller on all its edges and turn the cloth edges 
over and catch to the interlining. Stitch all around the 
edge of the collar and then apply to blouse, pinning its 
neck edge so that it will just cover the neck edge of the 
coat. Baste it carefully in position, then blind stitch it 
to the blouse from the inside of the jacket. The blouse 
is now ready for its lining. Cut it by the same pattern 
as the coat and allow for the plait down the center back. 
This lining is attached to the blouse exactly like the lining 
in the coat in Lesson 15. The sleeves are also cut and 
made and put in according to instructions already given. 

Now baste the peplum or skirt portions together. 
Baste the upper edge of the peplum to the lower edge of 
the belt, having the bastings come about three-eighths of 
an inch above the lower edge of belt. Try the coat on 
and make any changes necessary. Do not fit it too tight 
over the hips. Cut a bias strip of cambric one inch wide 
and baste it along all the edges of the peplum. If the 
side ge^ms of the peplum are left open at the bottom a 

275 



part of the way, baste the cambric up on these open 
edges also. The cambric should be basted to the right 
side of the coat and stitched one-fourth inch from the 
edge. Be careful not to stretch the edge when basting the 
cambric on. Turn the free edge of the cambric over to 
the wrong side so that the seam itself will come one- 
eighth of an inch from the fold and baste it in this posi- 
tion. Stitch one-eighth of an inch from the edge, and if 
preferred, another row may be put in one-fourth inch 
from the first row. Also stitch the belt at both its lower 
and upper edges with as many rows of stitching as de- 
sired. 

Cut a peplum lining using the same draft or pattern 
as the peplum was cut and baste it in place and fell one 
edge over another in the usual manner. Also cut a belt 
lining, turn under its edges and fell them against the 
belt. 

If preferred, a little vest made of the same or con- 
trasting material may be used in front. This may be 
further ornamented by the use of buttons, frogs, etc. The 
jacket may be made to slightly blouse over the belt or 
drawn snugly under it. Extra length should be allowed 
for this. 

DRAFTING A TIGHT-FITTING PRINCESS. 

The measurements used in this drafting are the same 
as used in Lesson 1. The hip measure and the length of 
skirt are the same as given in Lesson 9. 

Outline a front and back as given for the close-fitting 
coat and divide the shoulder lines equally, placing A and B 
at division points. Dots C and D are each one-half inch 
from the ends of the waist line in the back as there are 
two inches to take out at waist line the same as in the 
coat. One-half inch is taken off at each end and one inch 
in the center. F is the midway point between Dots C and 
D. Make Dot E one inch to the right of F and make 
Dot G half way between Dots F and E. Draw a straight 
line from E to B. Draw a line from F to intersection 
of bust line by placing A curve on F and letting armhole 
curve on square touch intersection of bust line. Draw a 
line from C up to armhole, placing C curve at armhole 

276 




Fig. 113 



277 



where bust line intersects it. Reverse square and draw 
a line from this same point to Dot I, which is one-half 
inch from H. (See Fig, 113.) 

Place Dot J at left end of waist line and measure 
two and one-half inches to the right of J and make Dot 
K, also measure on the dart line three and one-half inches 
and make a dot and draw a line from this dot to K by 
placing A on square on K on draft and extend this line 
on up to A. Now measure up the waist line in the back 
from D to E and from F to C ; also in front from J to 
K. In this case it measures eight and one-half inches. 
Now, since the princess dress must set well down to the 
figure at the waist line, it is an excellent idea to use a 
small dart in the center of the side front instead of hav- 
ing one dart in front too wide. This dart should be about 
one inch in width. Place the eight and one-half inch 
mark on square on Dot I and measure to the left on waist 
line to the 12-inch mark on square, plus one inch, and 
make Dot L, and draw a line up to the top of dart by 
placing A curve on L. Draw a line from L to I, plac- 
ing A on L and letting square touch I. (See Fig. 113.) 
This forms the waist line of the side front section. Place 
the center of the small dart midway between Dots L and 
J, letting it extend up two-thirds of the distance to dart 
line and down about five inches below the waist line. This 
dart is seldom ever over one inch in width, but it fre- 
quently is smaller, depending on the difference between 
bust and waist measures. This distance from L to I de- 
pends, of course, on the waist measure. Next test the 
waist measure to see if all the calculations have been 
made correctly. Measure from J to K on solid line, from 
L to I, omitting the dart, and from C to F and from E 
to D. This should measure exactly one-half of waist 
rrieasure. On account of using the one-inch dart in side 
front, the other dart will be narrower, which will make 
its edges come about on the same grain of the material 
and for this reason both sides are drawn the same length. 

Now, continue the front line or Line 1 below the 
waist line until it is the length of front skirt measure. 
Measure down six inches from J and make M. From M 
measure out to the right three inches and make N, Draw 

278 



a line from K through N and make it the length of front 
measure also, and mark it Line 2. Connect Lines 1 and 

2 at the bottom. The space between these lines represents 
the front gore. Find Dots O and P the same as given in 
the coat draft. Q is made three inches from O, and R 
is made one inch from P. Now draw the lines represent- 
ing the first side gore exactly according to instructions 
for drawing them in the coat draft and mark them Lines 

3 and 4. Line 3 is made the length of front measure 
and Line 4 the length of side measure. Connect them at 
the bottom. 

Draw the two lines representing the second side gore 
as given for the coat, making them each the length of 
side measure, and mark them Lines 5 and 6. Connect 
them at the bottom. Place corner of square on E and let 
its edge touch P and draw a straight line from E through 
P, continuing it until it is also the length of side measure. 
Mark it Line 7. Extend the center back line or Line 14 
down until it is the length of the back skirt measure. 
Make Dot S six inches below the waist line on this line 
and then draw a line from D through S, continuing it 
until its entire length is also the length of the skirt back 
measure, and mark it Line 8. Connect 7 and 8 at the 
bottom. The space between these lines represents the 
back gore. 

On account of the overlapping of the gores at the 
bottom, each section will have to be traced and cut sep- 
arately with the exception of the center-back and center- 
front gores. It is advisable to first trace and cut a paper 
pattern from the draft, so that all the sections will be sep- 
arate. Leave three-fourths of an inch on all the edges 
for seams. Remember not to cut the sections in two 
pieces at the waist line, but trace and cut right on up to 
the shoulder lines and armhole. The front is laid on the 
material so that Line 1 from top to bottom will be on 
a fold. The other sections are laid on the material so 
that the center of the gores are on the straight of the 
material. If greater width at the bottom is desired, add 
more flare as given for adding flare in a seven-gore skirt. 
When drafting from measures larger than these, use the 
instructions given in Lesson 7 for the waist part. 

279 



A princess dress in cloth or a non-transparent ma- 
terial does not really require a lining. It is advisable, 
however, to use a lining for the reason that it protects 
the dress and rather improves its set, making it fit up 
close and snug to the figure. The lining is made entirely 
separate from the outside material, and should extend 
about eleven inches below the waist line in closely woven 
material, while in transparent it should extend to the 
bottom of the dress, forming what is called a princess 
slip. Cut the lining by the princess draft, allowing for 
hems on fronts if opened in front, or on the backs if 
opened in the back. 

Join corresponding seams, fit and then stitch. Press 
all seams open, bind each edge and then bone. The hooks 
and eyes should be sewed on alternately, and should be 
about one and one-fourth inches apart. A belt tape is 
sewed to the lining at the back with its lower edge one- 
half inch above the waist line. 

The bottom is either hemmed or faced. It is advis- 
able to finish it with a skirt braid to prevent it from 
fraying out. Remember to shrink the braid before 
using it. 

If a high waist line is desired, cut the sections off 
four or five inches above the waist line. The top is then 
finished with a facing and an interlining of light-weight 
canvas about one and one-half inches wide. In fitting a 
skirt of this kind on a figure having a small waist line 
and large hips, make the alterations on each and every 
seam, so as to keep each section of uniform size. Allow 
good, big seams on each edge to permit of enlarging, 
should it prove to be too snug. This skirt, of course, 
requires a blouse, which may be made of contrasting 
material, such as silk, net, etc., etc. 

If a long-waisted dress is desired, cut the gores off 
about twelve inches below the waist line. The lower part 
then usually consists of plain widths joined together and 
plaited on to the upper part. The front section is often 
left in one piece and is termed a "panel front;" likewise, 
the back may be left in one piece, forming a back panel. 

280 



The semi-fitting princess dresses differ from the tight- 
fitting ones in that they do not fit so close at the waist or 
hip lines and an allowance must be made on the seams 
accordingly. They should fit a little closer, however, over 
the hips than at the waist line. The seams are readily 
put together as they are almost straight. In these, as 
well as in the tight-fitting princess dresses, it is all- 
important that the sections are laid on the correct grain 
of the material. It would be an irremediable mistake to 
cut any of the pieces off the correct ' grain, even though 
it would require more material. The center of each gore 
is laid on the straight or a lengthwise thread of the 
material, that is, parallel with the selvages. Be very 
careful to pin the pattern in many places to the material 
before cutting to avoid slipping. The semi-princess is 
often made with long-waist effect, panel front and 
flounce. 

Broadcloth, serge, worsted weaves and the panamas 
are all appropriate for this style. The dress may open 
at the center back or at the left of center front. In 
putting the different sections together, nearly everything 
in the upper part can be finished before the flounce is 
added. First, pin and baste the panel front and side 
front seams together, basting from waist line up and 
from waist line down. Next baste the center back sec- 
tion to the side back sections from waist line up and 
from waist line down. If the dress opens at the center 
back, there will be two back sections. Lastly, join the 
shoulder and under arm seams and try on. Pin the backs, 
having them correctly lapped. Then, if the fit is not 
perfectly smooth, the alterations can probably be made 
at the shoulder and under arm seams. If there are wrin- 
kles anywhere, clip the bastings and smooth the material 
by passing the hands over the figure, allowing the garment 
to set easy. Then pin the seams in the corrected position. 
Do not disturb the side front and side back seams unless 
it is necessary to make the panels straight. Keep the 
armholes as small as possible, though not too snug. Clip 
the armhole edges if they are disposed to wrinkle, and 
after removing the garment the armhole can be cut away 
to the depth of notches made. Slip the dress on again, 

281 



to make sure the changes have been correctly made, then 
stitch and press the shoulder and under arm seams open. 
The seams joining- the panels and side sections are pressed 
together on one side. Bind or overcast the edges. 

For making the flounce, sew together the several 
widths, and then plait them, making the plaits the desired 
width. Baste each of the plaits in position, then press 
on the wrong side, using a wet cloth and a moderately 
hot iron. Bind the top edges of the plaits, also run a 
piece of tape across them about a fourth of the way 
down, and tack each plait to this tape. This is called 
taping the flounce, and always assures their remaining 
in position as long as the dress is worn. Adjust the 
flounce to the bottom of the dress, sewing the corre- 
sponding seams together on the sides and extending the 
bound or top edge of the plaits up under the body part 
and basting it into position. The joining together of 
the body and top of plaits may be concealed by a tuck, 
or fancy braid, or the edge of the upper part may be 
turned under a seam's width and then stitched down to 
the plaits. Try the garment on again, and fit the sleeves, 
which should have previously been made. Mark the length 
at the bottom, remove dress, baste and stitch the sleeves, 
also finish the bottom either with a hem or facing. Bind 
the arm.hole. The neck may be finished with any kind of 
collar desired. These dresses may be ornamented with 
braid, trimmings of velvet, or with bretelles over the 
shoulders. 

WRAPPERS. 

Nearly every woman nowadays prefers a comfortable 
negligee to a house-gown, for early morning wear. The 
old-time objections of untidiness cannot truthfully be put 
forward against the up-to-date negligee, be it wrapper or 
dressing-sack. These are usually adjusted to the figure 
at the waist line with a belt or ribbon girdle, while the 
loose wrapper and kimono is reserved almost exclusively 
for lounging or bedroom wear. 

While a wrapper does not require so much care and 
attention in its fitting, and is much easier to make, still 
there is a tendency toward elaboration and dress eff'ect 

282 



in some of them that demands careful treatment as the 
work advances. Usually only the waist is lined, but the 
lining may be left out entirely. 

To make a wrapper pattern, lay the front and side 
front of the wrapper together from the shoulder down 
to top of dart and let the bottoms lie as they will. 
Cut these two sections in one piece by following the neck 
curve, shoulder line, armhole and down the under arm 
seam. Line 1 should be laid on the selvage, allowing 
for a hem. Lay the center back and side back together 
in the same way, placing the center back on a fold of 
the material, and cut these two sections together. Re- 
member to allow for all seams. Extend the gores down 
the desired length and add sufficient flare to give proper 
width. If lined, baste the material to the lining before 
joining the seams. If preferred, the wrapper may be 
made with a yoke in both front and back. The yoke 
may be plain or tucked. The neck may be high and fin- 
ished with a roll collar, or it may be low and finished 
with a fancy collar. A very pretty collar may be made 
in the sailor style with the back and the fronts pointed. 
This may be further trimmed with narrow lace slightly 
fulled on. A pointed bertha makes a very pretty finish, 
or if the wrapper is made of dimity, foulard or silk, wide 
lace may be fulled in around the yoke. Either hem or 
face the bottom. Trim with ruffles around the bottom 
if desired. Bias bands make a pretty finish; also a wide 
flounce is usually becoming. The opening or placket, 
down the front is finished by sewing a straight strip 
about two inches wide clear around the opening. Face 
the right side down to the wrapper as a faced hem and 
finish the other side and leave out for a fly. 

The fastenings in the front are usually invisible by 
being arranged under the hem. The lining fronts are 
fastened separately with hooks and eyes. If you want a 
belt, cut it two inches longer than the waist measure. 
Cut a lining the same size and turn the edges of belt and 
lining together and stitch. If you prefer the belt to lap 
in front, cut it about five or six inches longer than the 
measure. The sleeves are usually made bishop style, and 
may be made in full or shorter length. 

283 



DRESSING SACKS. 

Use the same drafts as given in Lessons 1 and 2 
and mark on the draft the depth of the yoke, then if you 
care to, you may cut the yoke part off at these marks and 
use this for the yoke pattern. Cut the skirt portion twice 
the width of the yoke, both front and back. They may be 
cut any length desired. If it is to be fastened down at the 
waist line, it should be cut a little longer than if left to 
hang loose. If fastened to the yoke with a heading, allow 
extra for this when cutting. Cut a small gore off of each 
front section on the under arm seam, making the top two 
inches narrower than the bottom. When fastening the 
front portion to the yoke, let the skirt portion extend out 
about three inches at the armhole and the back skirt por- 
tion about one inch. This is to form the balance of the 
armhole, which must be shaped by that part of the pattern 
which was cut off from the yoke at first. 

The fullness of the skirt portion may be either gath- 
ered or plaited and stitched on to the yoke. A dressing 
sack may be cut without a yoke and the fullness both in 
front and back arranged from the neck and shoulders by 
tucking or plaiting the material before cutting. Lay the 
tucks or plaits on down to the bottom of the garment 
before the pattern is laid on, then wheii stitching, stitch 
the depth desired. This will keep the sack from drawing 
across the bust. Any style sleeve and collar may be worn. 
A pretty effect is obtained by putting a ruffle of the 
material or lace or embroidery around the yoke. 

If you prefer to finish the dressing sack off in kimono 
style, cut the neck out in front from the shoulder to a 
point three or four inches down from the center of the 
neck. Then baste on a bias or a straight strip about six 
or seven inches wide. Begin at the bottom, place the right 
side of the strip on the wrong side of the sack and baste 
up the front, around the neck and down the other front. 
Turn this over and turn in the edge and baste it down 
so a's to cover the seam just made, and then stitch. The 
one stitching is sufficient to catch both edges. When 
worn this strip is turned down around the neck and as 
far down as desired where the fronts are overlapped. 
Use the flowing sleeve and Wve it loose at the bottom. 

284 




Face them on the right side with a two-inch band the 
same color as the strip around the neck and down the 
fronts, which may be of contrasting color. 

MATCHING FIGURES AND PLAIDS. 

The effort to match fig- 
u r e d, checked, striped or 
plaid material in cutting 
and fitting is sometimes a 
very difficult matter, and 
some very unsatisfactory re- 
sults are often obtained; yet 
it is a very simple and easy Pi^ jj4 

matter if a few points are 

borne well in mind. Select one position for the figures 
or flowers, and in the latter the stems usually run down- 
ward. When cutting a garment where several widths 
must be joined as in a circular or shirred skirt, it is of 
the utmost importance that the pattern or figures on the 
material should be matched, and oftentimes this cannot 
be done when the widths are simply joined at the selvages. 
It will sometimes be necessary to lap the second width 
some little way over the first in order to find the corre- 
sponding figures. When this is done, turn in the edge of 
the second width and pin it to the front or first width. 
Proceed in the same manner to join the other widths for 
both sides of the skirt. Slip-stitch the widths together 
from the outside. This is done by slipping the needle 
along inside the turned-in edge of the applied width, and 
then taking a stitch in the under width. When the skirt 
is turned wrong side out, the slip-stitching will be found 
to form the basting of the seam. (See Fig. 114.) 

When purchasing plaids, an extra quantity will 
always be required beyond that needed for a plain 
material gown of the same design. When cutting, be 
sure to keep the waist line of each piece on the same 
line or section of the plaid. If a seamed waist, the 
plaids must be matched both ways. Cut the fronts first 
in the usual way. Place Line 21 of the back in the cen- 
ter of a plaid, leaving Line 16 on the same section of 
a plaid as Line 8 in ^ront. To cut the first side body, 

285 



place Dot Y on the same section of the plaid as it came on 
in the center back. To cut the second side body, place 
Dot Z on the same section of the plaid as it came on in 
the first side body. This will give a back with an un- 
broken plaid after it is seamed. The plaids may not 
match when sewing the under arm seams together, but it 
will show least under the arms. 



286 



CHAPTER XVIIL 



Infants-' first outfit, drafting front, back and sleeve; petticoat, coat; 
Little Girls' Dresses, taking measurements and drafting pat- 
tern, suitable materials. Bishop dress, French dress. Buster 
Brown dress, suspender dress or bretelle skirt, blouse dress, 
yoke apron, suspender apron, kimono, one-piece apron; Romp- 
ers, little girls' Russian dress, Russian coat, surplice effect 
dress, making the shield and collar, yoke dresses, panel or prin- 
cess effect dress; Boys' Pants, taking measurements, drafting 
front and back of pants, pockets — side and back, fastening, fin- 
ishing; Boys' Russian Suit, knickerbockers and coat or jacket; 
Norfolk Jacket. 



INFANTS' FIRST OUTFIT. 

There is not so much opportunity for changes in the 
cutting and making of infants' garments, still from time 
to time there are improvements tried, with a view to mak- 
ing the process of dressing an infant a less wearisome 
operation and to give greater comfort to the child. The 
beauty of these little garments is the extreme neatness 
with which they are made. 

To draft a pattern of a slip, draw a straight line thirty- 
six inches long lengthwise on a piece of paper and mark it 
Line 1. Make a dot on this line two inches from the top 
and mark it Dot N. Also make another dot on this 
line three and three-fourths inches from the top and mark 
it dot A. From the top of Line 1 draw a line straight out 
to the right four and one-half inches long and mark it Line 
2. Make a dot one-half of an inch below the right end of 
Line 2 and mark it dot S. Make dot M one and three- 
fourths inches from the left end of Line 2 and connect it 
with N for the neck curve. Connect dots M and S with a 
line and mark it Line 3. From dot A measure straight out 
to the right and draw a line five and one-half inches long 

287 



and mark it Line 4. From the bottom of Line 1 measure 
straight out to the right and draw a hne sixteen inches 
long and mark it Line 5. Connect the right ends of Lines 
4 and 5 with a line and mark it Line 6. Measure from 
dot S straight down to Line 4 and make a dot at the mid- 
way point. Make another dot one-fourth of an inch to the 
left of this dot and draw a curve from dot S to the last dot 
and curve on down to the right end of Line 4. This forms 
the armhole curve in the front. (See Fig. 115.) 

To draft the back, draw a straight line thirty-six inches 
long lengthwise of the paper and mark it Line 7. Make a 
dot on Line 7 one-fourth of an inch from the top and mark 
it dot B ; also make another dot three and three-fourths 
inches from the top and mark it dot C. From the top of 
Line 7 measure straight out to the right and draw a line 
four and one-half inches long and mark it Line 8. Make a 
dot one and three-fourths inches from the left end of Line 
8 and mark it D. Connect B and D which form the neck 
curve. Make a dot one-half of an inch below the right end 
of Line 8 and mark it dot E. Draw a hne from D to 
E and mark it Line 9. From dot C measure straight 
out to the right and draw a line five and one-half inches 
long and mark it Line 10. From the lower end of Line 7 
measure straight out to the right and draw a line sixteen 
inches long and mark it Line 11. Connect the right ends 
of Lines 10 and 11 with a line and mark it Line 12. Draw 
a curve from dot E to the right end of Line 10 for the 
armhole curve. (See Fig. 116.) 

To draft a sleeve, draw a straight line across the top 
of the paper ten inches long, mark it Line 13. From the 
left end of this line measure straight down and draw a line 
eight inches long and mark it Line 14. From the lower 
end of Line 14 draw a line straight out to the right and 
make it the same length as Line 13, and mark it Line 15. 
Connect the right ends of Lines 13 and 15 with a line and 
mark it Line 16. Divide Line 13 into four equal parts by 
making dot F at the two and one-half inch mark and dot 
G at the five-inch mark and dot H at the seven and one-half 

288 




UJ 



CO 
u 



Jlo 



ID 





--^v^^^ 










(0 


— 






'" 


UJ 






o 


2 






b^ 


•J 


o 


LINE 7 










Ov 




^^--g^Nn" 







T-^y 






U) 


u> 


^ UJ 






CD 


z 


::; z 






li. 




•N -^ 










V . 


< 


LINE' 







289 



/ 



inch mark. (See Fig. 117.) Now, measure down on Line 
14 and make a dot two and one-half inches from the top 
and mark it dot I; also measure down one and one-half 
inches from dot H and make dot J; also measure down on 
Line 16 and make a dot two and one-half inches from the 
top and mark it dot K. To outline the top part of the 
sleeve begin at dot I and draw a slight outward curve to 
dot F; follow Line 13 to dot G, then curve down to dot J and 
on to dot K, making an under arm curve from J to K. Draw 
a slight inward curve from I to the end of Lme 14; also an 
inward curve from K to the end of Line 16. Draw an out- 
ward curve from the lower end of Line 14 to the lower end 
of Line 16. (See Fig. 117.) 

To cut the slip, - . ;- 

lay the front ..^ 7^^%-.. 

draft on a double 
fold of the goods 
and the back/ J 

draft on the sel- / /f' \ 

vage. Allow for / | 

the hems on the '"^w.'i/, „ ^<. 

back. One-fourth i; I 

inch seams and a I | 

two-inch hem for 
the bottom are al- 
lowed on the draft. If you want to make the slip with a 
yoke, cut the tops of the drafts off one-half inch below 
Lines 4 and 10. The yoke may be made of all-over lace or 
embroidery, or of tucks and insertion. 

To cut a slip with fullness at the neck, lay the front 
and back drafts with their straight edges on a double fold 
of the goods, though back from the fold about three inches. 
When cutting extend the neck curves to the fold. This full- 
ness may then be gathered and fitted to a band at the neck 
or a draw string may be run in and the fullness drawn to 
fit any sized neck. When cutting this style of slip from 

290 



f^ig. 118. Front of Slip. 



material thirty-six inches wide, let the bottom of the slip 
be the width of the material and then gradually slope to 
the armhole. 

When a yoke is used, use two full widths of goods 
thirty-six inches wide and cut them thirty-four inches long 
for the skirt portion. These widths may be left straight on 
each edge or a small gore may be cut off of each edge at the 
top, making the top of each width about thirty inches wide 
instead of thirty-six. 

To cut a band or waist for a petticoat, cut off the tops 
of the front and back drafts about three inches below the 
armholes and make Lines 6 and 12 straight instead of slant- 
ing. Before cutting, pin Lines 6 and 12 together and lay 
the pattern with its front edge on a double fold of the 
goods. Hollow out the neck and armholes a little more 
than for a slip. For the skirt portion use two widths of 
thirty-six inch goods. Flannel skirts are made in the same 
way, the band always being made of muslin. The trim- 
ming of flannel skirts consists of embroidery or fancy 
stitches. Open the seams in flannel and cross-stitch them 
down, and fell or overhand seams in muslin, or use the 
French seam. Do not leave any raw seams. When putting 
skirts on waists, face them on. Always finish the placket 
opening neatly. 

Finish the slips with 
a ruffle of embroidery 
around the yoke, or they 
may be left perfectly 
plain. The skirt portion 
may also be trimmed in 
tucks and insertion or 
left plain. Finish the 
sleeves in any dainty 
way you desire. Use the 
same drafts for making 
the gowns, only cut them 




Fig. 119. 
Petticoat Joined to Ordinary Body. 



a little larger and do not use the yoke, but leave the fronts 

291 



in one piece, also the back. If at all possible, purchase the 
shirts and bands ready-made. 

A coat may also be made by the slip pattern, by allow- 
ing more for seams and cutting the sleeves larger. Cut to 
open in front by placing Line 1 on the selvage of the 
goods, and place Line 7 in the back on a double fold. A 
simple little cape may be made by using an eighteen-inch 
square of fine flannel or any soft woolen goods. Cut a 
circle out of the center for the neck. Fold the piece through 
the center diagonally and cut from the neck to one corner 
to form the opening for the front. Scallop all around the 
edge with the buttonhole stitch. A cape made after this 
style makes an appropriate cape for the coat also. 

LITTLE GIRLS' DRESSES. 

Take the measurements of children a little looser than 
for adults, especially the bust and waist measures. Draft 
the pattern the same as given in Lessons 1 and 2, omitting 
the darts and side forms. Dot A is made two inches from 
top of Line 1 the same as for adults. The bust and waist 
measures are so near the same in children that the differ- 
ence is taken out in the under arm seams. If the waist 
measure is larger, as is sometimes the case, add one-half 
of the excess to each side of the front. Make a dot out to 
the right of dot E this distance and draw Line 5 from dot 
D to this new dot. Draw the armhole curve one-half of 
an inch above the bust line, as children do not need as 
deep a curve at the armhole. 

Sometimes a small dart is used for children over eleven 
years of age in the front lining. Place the dart midway 
between Lines 1 and 5, extending the top to within one and 
one-half inches of Line 4. Do not use so much of a drop 
for the shoulder slant for very small children — about one- 
half of an inch less. If shoulder is three inches long, make 
the drop about one inch, from four to five inches the drop 
should be about one and one-fourth inches. 

When drawing Line 18 in the back, raise it the same 
amount that you take off of the shoulder drop in front. 

292 



Thus, if you lowered dot S only one and one-fourth inches 
instead of one and one-half inches, raise Line 18 one-fourth 
of an inch higher than given in Lesson 2. Extend the left 
end of Line 16 out one inch and re-draw Line 21 from dot 
K to the end of the line; also extend the rignt end of Line 
16 one inch and re-draw Line 22 from dot R to the end of 
the line. Test the waist measure and if too small make 
Lines 8 and 16 a little longer; if too large, make them 
shorter. 

The sleeve measures are taken the same and sleeve 
drafted the same as for adults. 

The materials which are used so much for children's 
wear, such as linen, duck, madras, gingham, chambray, 
pique, repp and cheviot, should be shrunken before being 
made. If not shrunken, an allowance will have to be made 
on all the pieces ; and this does not always give satisfactory 
results. One inch to the yard is the estimate shrinkage for 
these goods. The following method may be used which does 
not require pressing: Roll the folded goods smoothly in a 
cloth and cover with water and leave it over night. Remove 
in the morning and hang up to dry without wringing. It 
will take it some time to dry out thoroughly, but it will not 
need pressing until after the garment is made, then it is 
dampened and pressed. It is a good idea to put a tuck 
under the hem, or the bottom of the skirt may be orna- 
mented with several tucks, then as the dress shortens a tuck 
may be taken out. 

No better selection can be made for a little tot than 
the Bishop style, since the long unbroken lines give appar- 
ent height to the child and is much more becoming than 
those which are belted or seamed on at the waist. The 
little plain mother-hubbards make good every day dresses, 
as they are easier laundered. For girls from four to six 
years of age the French dress is very suitable. The skirt 
is seamed on to the waist, with the waist blousing over the 
skirt a little below the waist line. The skirt and waist both 
may be cut with either plaited or gathered fullness. The 
Buster Brown dress may be and is worn by children of all 
ages. The suspender dress or bretelle skirt is a very use- 

293 



ful garment, as it can be worn with separate waists, and 
it is a very convenient way to remodel old dresses. 

All the varieties of dresses for children can be made 
by using as a basis the drafts which have already been 
given. While there are many and great variations from 
this original draft, still with the knowledge and experience 
you have acquired thus far you will have little difficulty in 
adapting it to all changes, if you but exercise a little origin- 
ality mixed with a moderate degree of ingenuity and com- 
mon sense. 

For instance, in cutting a blouse place the back of the 
draft with Line 21 on a double fold of the goods and cut 
round the neck and armhole, also the shoulder. Cut the 
blouse five inches longer than the back measure. Then 
slope the goods out from the armhole to the bottom, making 
it three inches wider than the width of back measure. This 
will make the whole back six inches wider at the bottom. 
Now place the straight edge or Line 1 of the front on the 
selvage of the goods and cut along the neck, shoulder and 
armhole. Cut the front six inches longer than the front 
measure and make each half front four inches wider at the 
bottom than one-half of the chest measure. Cut out a V- 
shaped point in front at neck and finish with a sailor collar. 

Do all tucking or plaiting before cutting out. There 
are many different varieties of aprons, which may be made 
of white linen lawn, crossbar nainsook, plain and checked 
ginghams, etc. All of these can be made from this same 
draft. The yoke aprons may be cut by using the tops of 
the front and back drafts to within an inch below the arm- 
hole. The skirt portion is cut plain and gathered on to 
the yoke. For a short yoke cut across a little above the 
armhole, then after the skirt portion is sewed to the yoke, 
hollow it out some under the arms to form the curve of 
the armhole. The suspender style is very pretty and dainty, 
especially when the straps or suspenders are made of in- 
sertion. This may be varied by putting shoulder ruffles 
on the straps. 

MAKING A LITTLE GIRL'S KIMONO. 

To cut a kimono pattern, lay the front and back drafts 
together shoulder to shoulder, as shown in Fig. 120. Cut to 

294 



follow the neck curves front 
and center back lines, under 
arms and bottom lines. Th 
sleeves may be cut short and 
in any shape desired. This 
will give the kimono and 
sleeve all in one piece, if pre- 
ferred, by laying the center 
back on a fold of the material. 
Allow about two inches for 
fullness by laying the draft 
that far from the fold. After 
cutting, join the center back 
seam, if any, under arm and 
sleeve seams. Gather the 
back at the neck and finish it, 
also down the fronts, and 
lower edge of sleeves with a 
trimming band of contrast- 
ing material. (See Fig. 121.) 
Hem the bottom. 

To make a one-piece apron 
or dress lay the front and 
back drafts so that the center 
front and center back lines 
will be on the same straight 
line. (See Fig. 122.) Out- 
line all the edges and cut 
sleeve as in the kimono draft. When cutting lay the center 
front and back lines on a fold 
of the material. There is only 
one seam on each side — the un- 
der arm seam which is to be 
joined. This little dress slips on 
right over the head without ^*s- 121. 

any fastening, but if preferred, an opening may be made 
at the back and fastened with buttons and buttonholes. 
If it seems large over the shoulders lay a small box plait 
on top of shoulder beginning at nothing near neck line and 
gradually increasing in width to arm until sufficient has 

295 




Fig. 120, 





been taken up. Finish the neck and sleeve edges with a 
narrow frill of lace. Sew beading at the inside edges of 
the frills and insert ribbon in beading. Draw the ribbons 
up closely to fit the neck and arms, and tie in pretty bow. 

ROMPERS. 

Lay the front and back 

drafts together, as in Fig. 

122, placing the center front 

and center back lines on a 

fold of the material, and cut 

all in one piece, including the 

sleeves. Cut along the neck 

curve also. Remove the 

draft, open up the material 

and fold so that the lower 

edge of the front and back 

will come together. At the 

center of the back and front 

section cut small darts which 

will form the inside seams 

of the leg portion. (See Fig. 

123.) Join these seams, also 

the under arm and sleeve 
The lower edge of 
each leg por- 
tion is hem- 
med, into 
which a rub- 
up to fit the 
and drawn 

ber is run Fig. 122 

sleeve may be left loose or gathered into 
~\ a wristband. The neck may be fin- 
ished with a band or cut a little low 
and faced. The rompers are made to 
open down the center back. These 
edges are faced and fastened with but- 
tons and buttonholes. 

If preferred, the lower back section 
may be cut across at dotted line and 

296 



seams. 





Fig. 124. 




Fig. 123. 

gathered into a band which fastens on both sides, with small 
openings or plackets at the under arm seams. The band 
may be made long enough to extend around to the front and 
fasten with a button and buttonhole. (See Fig. 124.) 



A RUSSIAN DRESS. 
This is a practical little dress and quite easy to make. 
As a rule, dresses made in one piece (the waist and skirt 
portions cut in one) are apt to be scant at the bottom. 
This difficulty is obviated here by inserting inverted plaits 
at each side in the under arm seam and center back. The 

297 




material for the plaits is added from the waistline to the 
hem, and is arranged to give a flare to the skirt portion. Use 

the plain front and back drafts 
and since the Russian Dress 
fastens on the left front, cut 
the right front so that it will 
be wide enough to come about 
halfway over the left front, 
and allow for a hem. (See Fig. 
125.) Allow from one and 
one-half to three inches for a 
hem at the bottom, also for 
^^" ■ the inverted plaits. Join the 

center back and under arm seams. Form the inverted 
plaits at the sides and back and baste them into position 
and then press flat. If the dress is made of heavy material, 
these plaits are apt to sag unless secured at the top. Bind 
the upper edges of the plaits and then stitch them across 
the top. Have the stitching come through the dress, and 
this will hold the plaits firmly in position. The belt will 
hide the ■ stitching. Turn the hem on the right front and 
face the edge of the left front. The neck may be left high 
or cut a little low. If the former, finish with a narrow 
band. If the latter, a facing will have to be used. Next, 
turn the hem at the bottom. It is a good idea to first pin 
it near the bottom, and then baste around the lower edge 
of the skirt about one-half or one inch up. At intervals 
of eight or ten inches it may be necessary to lay a tiny 
plait at the top of the hem. These little plaits must be 
pressed flat. After basting, stitch the hem with one or 
more rows. 

If the right side of the dress is to be finished with a 
trimming band, it should be applied before buttonholes are 
worked near the edge. The band should be bias. Sew 
buttons at the edge of the left front and button the dress 
at the side. To keep the belt in position, sew narrow 
straps at the under arm seams, through which the belt may 
be passed. Lap the ends of the belt in front and fasten 
with a button and buttonhole. 

Use the Bishop sleeve and gather it at the upper and 
lower edges. Finish the lower edge with a wristband. Pin 



298 



the sleeve in the armhole, placing the seam about one and 
one-half inches from the under arm seam. Always hold 
the sleeve toward you when arranging it in the armhole. 
Pin the plain part of sleeve smoothly into the armhole 
Draw the gathers up to fit the remaining space, distrib- 
uting them evenly and pin carefully before basting sleeve 
to position. When stitching, stitch in a bias strip with 
which to bind the armhole. (See Fig. 102.) 

A little Russian coat (Fig. 126) is made in the same 
manner with the exception that the coat sleeve is used and 
a lining and interlining. It can be made from a variety 
of materials, chosen according to the use for which it is 
designed. For school wear, serge, cheviot, and mixed cloth 
will give satisfactory results, do excellent service and make 
an extremely stylish and attractive appearance. The trim- 
ming bands may be of velvet, broadcloth, or, if desired, of 
several rows of pretty braid. For a 
more dressy coat, broadcloth is the 
most desirable, and the lining should be 
of silk, but if the matter of economy 
must be taken into consideration, then a 
soft light weight sateen will do. For 
the interlining use wool wadding as it 
is less bulky and at the same time is 
very warm. Cut the material for the 
coat and the lining exactly alike. Join 
the seams of the coat and press them 
open. Apply narrow bands of light 
weight canvas down the fronts, around 
armholes and neck, the same as given 
in Lesson 15 for adults. Next apply 
the interlining by same instructions, 
then lining and finishing, etc. 

Another very popular little dress 
is the plaited skirt joined to the waist 
by means of a belt. For this example 
the surplice effect is used in the waist. 
(See Fig. 127.) A shield with collar 
attached is worn with it. The surplice 

299 




Fig. 126. 




effect is obtained by using the plain 
front and back drafts, and turning 
back the front from shoulder at neck 
down to a point two inches from center 
front at waistline. The skirt consists 
of several plain widths joined together, 
hemmed and then plaited. After cut- 
ting, join shoulder and under arm 
seams. Gather the lower edge of the 
waist in front and back and baste it to 
the top of the belt. Both sides of the 
front of the blouse are alike, in that 
they lap in front, and the belt laps also. 
Fig. 127. After fitting, stitch the shoulder and 

under arm seams and press open and finish each edge. 
The neck and front edges of the material should be un- 
derfaced. Lay underfacing right side against the edge of 
the waist, baste and stitch. Then fold it over to the 
wrong side, turn under its free edge and fell it down. 

After basting the plaits in the skirt into position, press 
them well. Cut a placket opening in the underfolds of the 
first plait in the left side and bind the edges of this open- 
ing. (See Fig. 127.) For wash dresses it is a good idea to 
cut this opening right down to the hem, and tack it tempo- 
rarily together, or button it invisibly by means of a fly. 
In basting the skirt to the bottom edge of the belt first pin 
the corresponding center backs and front edges together. 
If it is necessary to alter the waist size of the skirt, alter 
the underfolds of the plaits, keeping the outerfolds un- 
changed. If the skirt does not hang evenly when tried on, 
raise it where necessary under the belt. Do not alter the 
width of the belt. Press the belt when it is stitched, press- 
ing both cut edges toward the middle of the belt. Fell a 
belt lining over this to cover up the seams. A large button 
or hooks and eyes fasten the dress at the waist line. Use 
the Bishop sleeve and adjust to armhole in the regular 
manner. 

The shield is cut by laying front draft with its front 
e'dge on a fold of the material. It is cut any shape desired. 
It may be attached to a lining like a guimpe, if preferred. 
If not, hem its outer edges and baste a collar band to the 



300 



neck curve. Try it on and when satisfactorily adjusted, 
stitch. A hning should be cut for the collar. Baste this 
against the right side of the collar and stitch the top 
and back edges of it. Turn the lining over on the wrong 
side and fell its neck edge over the neck seam. Add a 
stitching on the right side at the top and at the bottom of 
the collar. 

The back edges of the shield and collar should be made 
to lap and button. A buttonhole at the back of the waist 

at the neck buttons 
on to the shield and 
keeps it in position. 
The waist may be 
further buttoned on 
to the shield on 
either side in front, 
if desired. 



Another favorite 
dress is the one 
made with a yoke. 
The skiri; is joined 
to the waist with a 
belt in this case 
also. The yoke 
may be made round- 
ing, V-shaped or 
square. (See Fig. 128.) 




Fig. 128. 



'^I~3^, 




The yoke may be made of the 
same material or of all-over embroidery 
or lace. For school wear, a dress made of 
pretty gingham and the yoke of all-over 
1 embroidery is very serviceable as well as 
I economical. Cut the yoke by the top part 
I of the plain front and back drafts. Tuck 
//] a width of the material with as many tucks 
as desired, making them the width and 

301 




Fig. 130. 



length wanted, either solid or in clust- 
ers. Fold through the center and lay 

the front draft with its front edge on 

the fold and shape the under arm seam, 

also the armhole curve. Remember this 

waist does not extend up to the should- 
ers and neck lines, but to bottom of 

yoke. The back is tucked and cut in the 

same manner, with the exception that 

the dress opens in the back and the 

edges should be hemmed before tucking. 

Baste and stitch these body portions to 

the yokes with the seam edge on the 
right side, as they appear in Fig. 129. 
This makes a neat finish when there is 
a banding or embroidery to be applied 
over the seam. (The banding of course 
is not applied until after the sleeves are 
sewed in.) (See Fig. 129.) 

Join shoulder and under arm seams. 
Gather the bottom of the waist and 
baste to top of belt. Try it on and make 
any necessary changes in the seams and 
belt size. Join the skirt widths to- 
gether, gathering or plaiting the upper 
edge and attach to lower edge of belt. 
The simplest kind of placket is the best 
to use for this wash frock. A straight 
length of the gingham, about one and 
one-half inches wide, and long enough 
to bind both edges of the placket. 
Stitch this continuously along the edges 
of the placket. Fold the strip down its 
length, turn under its free edge and fell 
it down over the seam. (See Fig. 130.) 

Use the Bishop sleeve, and finish the neck with a collar 

band. 

A pretty little model as well as a serviceable one is 

illustrated in Fig. 131. The tucks are so arranged as to 




Fig. 131. 



302 




give a box-plait panel or princess appearance down the 
front and back. The two fronts are joined by a straight 
strip of the material, whose edges are turned under and 
stitched in such a man- 
ner as to form the tucks. 
The stitching extends to 
waist line only, but the 
plait extends down the 
entire length of the 
dress. The backs are ar- 
ranged in the same man- 
ner, except each back is 
finished separately. A 
hem allowance must be ^'S' ^^^- 

made on each piece. Two widths of the material form the 
skirt portion. These pieces are joined to the under edges 
of the tucks. (See Fig. 132.) After joining the shoulders 
and under arm seams, gather the top edge of the skirt por- 
tion and baste to lower edge of the waist. Or, a belt may 
be used in this also and both waist and skirt joined to the 
belt. Any mode of trimming may be used. The neck is 
either finished with a band or Buster Brown collar. 

DRAFTING BOYS' KNEE PANTS. 

The following five measures are used in drafting boys' 
pants: Waist, seat width, outside length, inside length, 
and knee. 

Waist measure: Pass the tape around the waist line 
taking a rather loose measure. 

Seat width : Measure over the largest part of the seat 
and on around to the front. 

Outside length: Measure from the waist line, down 
over the hip to knee. This should be the length you wish 
to make the pants. 

Inside length: Measure from the crotch down to the 
knee, or the length desired. 

Knee measure : Take the measure around the knee the 
width you wish the leg of the pant to be at that point. 

The draft used here is made from the following meas- 
ures : Waist 24 inches, seat width 32 inches, outside length 
16 inches, inside length 8 inches, knee 13 inches. 



303 



Measure in one inch from the left edge of the paper 
and down one inch from the top, and draw a perpendicular 
line the length of the outside measure and mark this Line 
1. From the bottom of Line 1 measure out to the right 
one-half of the knee measure minus one-half inch, for the 
width of leg at the bottom, and draw Line 2. From the 
bottom of Line 1 measure up the length of the inside meas- 
ure and make a dot A. To find the width of the front on the 
seat line, measure from Dot A to the right one-fourth of the 
seat measure minus three-fourths of an inch and draw Line 
3. From the top of Line 1 measure out to the right one- 
fourth of the waist measure minus one inch, to obtain the 
width of the top, and draw Line 4. Draw Line 5 from dot 
B to the end of Line 2 for the inside seam. Make a dot 
one-fourth of an inch below the junction of Lines 1 and 2, 
and draw a line from this dot to the junction of Lines 2 
and 5. This is to give a slant to the bottom of the pant. 
Extend Line 1 to the dot below. 

Also make a dot one-fourth of an inch above the right 
end of Line 4 and draw a line from this dot to junction of 
Lines 1 and 4 to give a slant at the top. Draw a curved 
line from the last dot to dot B and mark it Line 6. (See 
Fig. 133.) This completes the draft for the front of pant. 

DRAFTING BACK OF PANTS. 

Measure in one inch from the right edge of the paper 
and down three inches from the top and draw a line the 
length of the outside measure and mark this Line 7. From 
the bottom of Line 7 measure out to the left and draw a 
line and mark it Line 8. From the right end of Line .8 
measure to the left three and one-half inches and make dot 
C. From dot C measure out to the left one-half of the knee 
measure plus one inch, for the width of the leg at the bot- 
tom, and make dot D. The length of Line 8 depends on 
knee measure. 

From the bottom of Line 7 measure up the length of 
the inside measure and make dot E. Measure to the left 
of dot E two inches and make dot F. To get the width of 
seat, measure out to the left of dot F one-fourth of the seat 
measure plus one and one-half inches and make dot G, and 
draw Line 9 from dot F to dot G. Draw Line 10 from dot 

304 





r^ 



T 



■J-WPC=Py ^ 




<£^ 



305 



C to dot F, and Line 11 from dot G to dot D. Line 10 
should be the length of the outside measure, so continue it 
until it is this length, and make a dot at the end of it 
and mark it dot H. From dot H measure out to the left 
one-fourth of the waist measure plus two inches for the 
width of the top and make dot L Draw a curved line 
from dot G to dot I and curve on up to a point about 
three inches above dot I and mark this Line 12. Draw 
Line 13 from dot H to the end of Line 12. 

Make a dot one-fourth of an inch below dot C and draw 
a line from this dot to dot D and extend Line 10 to the dot 
below. When drawing Line 10 from F to H, allow for flap 
as indicated. (See Fig. 134.) 

Cut the pattern allowing for seams on Lines 1, 5, 6, 10, 
11 and 12. Allow for hems at the bottom and a seam's 
width or more at the top. Fit the back of the pant with a 
dart in the center of each piece. Sew up the inside seams 
and stitch them flat on the right side ; sew the inside seams 
of each leg, then joining the inside seams at the seat line, 
baste and stitch the front and back seams, then press well 
and stitch on the right side. Hem the bottom of each leg 
portion and finish the placket with a facing. Sew a band 
on the inside at the top for the buttonholes to button on to 
waist. The band can also be tacked to the pants between 
the buttonholes. 

If the pants are to have a back pocket, it must be put 
in before the seams are basted and stitched. First stitch the 
darts in the back portions, then cut them so the seams can 
be pressed flat. Mark where the pocket is to come and 
run a colored thread along the mark so that it is visible on 
both sides of the material. Cut a piece of the cloth two 
inches wide and one inch longer than the pocket mark and 
baste it with its right side facing the right side of the ma- 
terial and in such a position 
that the pocket opening or 
mark will run directly through 
its center and leave one-half of 
an inch at each end. (See Fig. 
135.) Baste a piece of canvas the 
same size as the piece of cloth 
Pig. 135 and in same position, on the 

306 




wrong side of material. Two rows of stitching must now 
be put in, one an eighth of an inch above the pocket mark 
and the other an eighth of an inch below. Do not stitch 
across at the ends. Tie the ends of the thread of the stitch- 
ing firmly, then cut through carefully exactly on the pocket 
mark with a sharp pair of scissors or a knife, and cut just 
the length of mark. Remove the bastings from the piece of 
cloth, and push the ends through the pocket opening and 
baste around the opening from the outside, letting the loose 
part of cloth form a cord beyond the stitched edge of the 
seam, but no more than an eighth of an inch. At the ends 
the cloth piece may be drawn entirely through the opening 
and basted flat on the wrong side. Draw the two edges of 
the opening together with loose overhand stitches and press 

very thoroughly. (See Fig. 136.) 
Stitch around the opening from 
the outside as close to the seam 
as possible. 

Cut the pockets from some 
trong lining about seven inches 
long and four and one-half 
-inches wide. It will require two 
Fig. 136. of these pieces for each pocket, 

one piece being an inch longer than the other. Place 
the two pieces of the pocket together in such a position that 
they will hang straight. Face the top edge of the longer 
piece with a piece of the cloth two inches deep and stitch at 
its lower edge to the pocket. Cut the lower corners of the 
pocket rounding, trimming both portions alike. Now place 
the shorter pocket piece on the inside of the garment so that 
its rounded edge will extend toward the top of the gar- 
ment and its straight edge one-half inch below the pocket 
opening and on a line with it. Baste this securely in 
place and stitch from the outside across the straight edge. 
Remove basting and turn this piece down so that its 
rounded edge will extend toward lower pan of garment. 
Place the longer pocket portion over it with the two rounded 
edges together and with the facing on longer piece toward 
the cloth of the garment. Baste this in position to the top 
of pocket opening and stitch from outside close to the seam, 
as on the lower edge. Now turn in the edges of the two 

307 





pocket pieces and stitch all around. A button hole bar is 
put in to stay the ends of the pockets. 

If the pants open down the front, the opening musi 
be faced with fly portions. (See Fig. 137.) Cut a piece of 
lining the length of the opening and about one and one-half 

inches wide 
and shape it at 
lower end by 
the front por- 
tion. Baste 
this on the out- 
side of the 
front edge of 
the left front 
portion and 
stitch along 
the edge. Turn 
the facing over 
to t h e wrong 
side, allowing 
^^' ■ the cloth edge 

to extend over far enough to conceal the lining, and baste in 
place. Cut two more facings like the first one, one of the 
cloth and one of the lining. Stitch together on the same 
edge as the first facing was stitched. Then turn, and baste 
it firmly and stitch on the edge to hold it flat. This piece 
is basted in place on the under side of the left front portion 
with the edge of the piece just a trifle under the edge of the 
front. The lining of this piece is placed next to the ma- 
terial. The buttonholes may be worked in this fly piece now 
or after it is stitched in place and are worked from the 
cloth side, the first one to come just below waist band. A 
row of stitching one-fourth of an inch back of the button- 
holes and through both outside and fly piece will hold it in 
place against the facing of the left front portion. Over- 
cast the raw edges at the inside. 

Cut two more fly facings, one of lining and one of the 
material and sew together at the outer or rounded edge. 
Place the right side of the material to the right side of the 
right front portion, sewing the curved edge of the cloth 
only to the pants. Press the seam open and turn in a nar- 



308 



row edge of the lining and baste down over this pressed 
open cloth seam, and make a row of stitching on the front 
portion close to the seam which will hold the facing in place. 
There should also be a row of stitching on the other edge 
of this extension fly piece to hold it and its facing together. 
Buttons are sewed on this piece to correspond with the but- 
tonholes in the fly. 

The side pockets are next to be sewed in place. A piece 
of cloth one and one-half inches wide should be basted to 
the front portions by a narrow seam, and extend one-half 
inch above and one inch below the pocket opening, which 
should have previously been marked with a thread when 
the seams were marked. The pockets are cut from drilling 
or other strong lining material. One piece eight and one- 
half inches wide and eight inches deep is required for each 
pocket. In larger or smaller measurements the size of the 
pockets will vary accordingly. Seam one side of the drill- 
ing pocket piece to the front portion over this small facing 
piece so that one seam will hold both, and stitch as far as 
the pocket opening. The raw edge of the cloth facing 
should be turned under and stitched to the inside of the 
pocket. The back edge of the lining pocket should have 
one edge turned over a seam's width and the edge thus 
made should be basted even with the seam mark to the 
under side of the back portion of the trousers. A row of 
stitching extending from the waist to the bottom of the 
pocket opening will hold this in place, and the edge of the 
extension piece on the back portion of trousers forms the 
facing for the other side of the pocket. It should be turned 
under at its edge and stitched to the inside of the pocket. 

The outside seam of the leg, below the pocket, is now 
seamed, then both edges of the seam are turned toward 
the front and a row of stitching is placed on the outside 
one-eighth of an inch from the edge, giving a lap or welt 
seam finish. The seam should be closed all the way down 
if the legs are to be finished in knickerbocker style, or the 
allowed hem on the front portion may be turned under and 
have buttonholes worked in it, and the underlap on the back 
portion may be underfaced and have buttons sewed on it. 

309 




The seam from the top of 
the pocket to the waist 
should also be stitched in 
a seam. Bring the finished 
pocket edge of the front 
portion even with the seam 
mark on the back portion 
and baste firmly in posi- 
tion, the pocket turned 
toward the front, as in Fig. 

138. The edges of the lin- ^. ,,„ 

1 . , , . Fig. 138. 

mg pocket are turned m a 

seam toward the inside and stitched together close to the 

folded edge; one or both corners of the pocket may be 

rounded. 

The inside seam of each leg is now stitched and the 
seams pressed open; the two leg portions should then be 
joined by a seam down the back, extending from the 
waist to the lower edge of the fly piece. This seam 
should be pressed open and covered with a tape or a bias 
strip of lining basted flat on the open seam and stitched 
from the outside with a row of stitching each side to form 
a stay. The end is turned under and hemmed down neatly 
at the end of the fly stitching. A strong stay stitch or 
overcast bar should be worked in the outside of the fly 
opening. 

The top of the trousers should be turned over a seam's 
width toward the wrong side and a facing hemmed to it. 
The band should be made and buttonholes worked in it. It 
is basted in position and one row of stitching made from 
the outside holds the lower edge of the band and facing. 
A strong tack thread should catch the band and the out- 
side portion together between the buttonholes. The fly 
piece should be caught to the facing of the left front in 
the same way. 

BOY'S RUSSIAN SUIT. 

The Russian suit consists of a coat or jacket, fastened 
at either the right or left front, and knickerbockers. The 
fronts and back are drafted according to instructions for 
children's drafting in first part of this lesson. An al- 

310 



lowance of one and one-half inches for a hem must be 
made on the left front. The knickerbockers are drafted 
the same as the drafting for knee trousers, except they 
are made a little longer to blouse at the knee when drawn 
up on a rubber or put into a band. 

Because of the fact that knickerbockers come more 
under the head of tailoring than dressmaking, the work 
must be done with the greatest neatness, for careful press- 
ing, even stitching and absolute exactness in cutting and 
construction, count far more on boy's suits than fine needle- 
work. The amateur is often discouraged over that "home- 
made look" that sometimes results in the making of these 
suits, whereas, if above points in tailoring were consid- 
ered she would have no difficulty whatever in giving "them 
the smart tailor finish. 

In using new woolen goods the material must always 
be sponged and pressed carefully before it is used. Little 
suits of this character are often made of wash materials 
also such as linen, pique, chambray, percale, galatea, and 
even gingham for summer wear. 

The model used for an ex- 
ample is illustrated in Fig. 
139. To make and insert the 
pocket in the left front baste 
a piece of the material three 
inches deep and one inch 
wider than the pocket open- 
ing to the right side of the 
coat over the pocket open- 
ing. It is stitched, cut and 
pushed through to the wrong 
side, like the facing of the 
back pocket in boy's trousers, 
of stout lining. The lower piece should be about four 
and one-half inches long and the upper one five inches 
long. Both pieces should be one inch wider than the 

311 




Fig. 139. 

Two pocket pieces are cut 





f 




1 








\ 


?— —■ S " 
















5 ■: 






;t 


7. 

T 


44c 






i 




„^-.,„ s„,_. ..„, 




^^M 


[■ 




■ 


' 



Fig. 140. 



opening. They are slipped under the facings, basted and 

stitched from the right aide. 
(See Fig. 140.) The raw edges 
of the facings are turned un- 
der and stitched to the pocket 
pieces. The upper pocket 
piece is then turned down over 
the lower and basted and 
stitched to it around its thiee 
open edges. The raw odge 
may be bound or overcast. 

Turn under the one and Oiie- 
half inch hem on the left front 
and stitch. The right front 
should be underfaced with a 
strip of strong cotton material 
about one inch wide. This 
finishes the edge and also 
serves as a stay for the but- 
tons. Sew the trimming band flat to the left front with 
their edges even, having previously turned under the edges 
of the band. Stitch it to the blouse with a single row of 
stitching an eighth of an inch from the edge of the band. 
Join the shoulder and under arm seams, and after 
fitting stitch the seams and finish them in a flat fell 
seam. Make the standing collar band of two thicknesses 
of the material, seamed first on the wrong side and then 
turned right side out. Sew one edge of the band to the 
blouse so that the seam comes on the outside. Turn in 
the other edge and baste and stitch it over the first 
seam and along the ends and upper edge. The collar 
tons and buttonholes. Fasten narrow straps made of two 
thicknesses of material to the side seams just below the 
waist line. A leather belt or one made of the material 
may be used. If the latter, it should be about one and 
one-half inches wide and should be made of double thick- 
ness of the goods. The bottom edge of the blouse is 
turned in a two-inch hem and stitched. Allowance for 
this hem must be made when cutting. 



312 



The sleeve is made with a little fullness at the top 
and bottom which may be either plaited or gathered. 
Face the lower edge then close the inside seam and insert 
sleeve in the armhole. Bind the armholes with a narrow 
bias facing. 

After taking up the darts in the back portions of the 
knickerbockers, insert the back hip, also the side pockets, 
according to instructions already given. Close the in- 
side leg seams, stitch and press open. Next, close the 
back seam of the trousers from the waist to the bottom 
of the facing. This seam is then pressed open and cov- 
ered with a tape or bias strip a quarter of an inch wide 
when finished. Baste this flat to the open seam and 
stitch it from the outside on each side of the seam. The 
raw edges of the seam are whipped. A strong stay stitch 
or overcast bar should be worked at the top and bottom 
of the opening and also at the lower part of the side pockets 
to prevent their tearing down. The tops are finished the 
same as the knee trousers. Turn under the bottom of each 
leg an inch for a hem-casing, through which run an elastic." 
and the suit is finished. 



NORFOLK JACKET. 

In making a Norfolk suit the method is very similar 
to the Russian blouse suit. The knickerbockers are made 
just the same. The jacket, illustrated in Fig. 141, is made 
with a seam running to the shoulder in both 
the front and back portions; the simulated 
box plait is afterward applied directly 
over these seams and covering them. The 
pockets are made and inserted the same as 
the back hip pocket in the trousers. The 
fronts are faced with canvas from the 
shoulder. The upper corner or lapels of the 
fronts are to have the canvas and cloth held 
Fig. 141. together with padding stitches, as given 
in Lesson 15. After joining all the seams press them 
open. 

The rolled collar is drafted and finished exactly ac- 
cording to instructions for drafting the rolled turn-over 




313 



collar in Lesson 15. Cut canvas interlining for the box 
plaits as wide as desired, and the outside material three- 
fourths of an inch wider at each edge than the interlining. 
Turn over this three-fourths of an inch, baste it, then 
stitch three-eighths of an inch from each edge. It is bet- 
ter to stitch the plaits separately and slip-stitch them to 
the jacket. Interline the belt with canvas and hem a lining 
to the turned-over cloth. 

Apply the collar to the jacket as previously described 
in Lesson 15. Cut a facing for the collar and baste it 
on. Also cut the front and back linings like the cloth 
fronts and back and attach to coat, leaving one-half inch 
plait down the center of the lining in the back. Finish 
the same as given in instructions for ladies' coats. 



314 




Two designs for dresses very desirable for summer 
wear are suggested above — one for a house dress and the 
other an afternoon gown. The former may be made of 
any wash material, either plain, dotted or figured. The 
latter, of course, may be made of silk or light-weight 
woolen materials with net or all-over lace for the waist 
and sleeves. Soutache or rat-tail braid is used in any 
ornamental design. 



315 






Two illustrations depicting simple and easy lines to 
follow in drafting", cutting and making. One shows a 
very desirable style for making up the now popular plaid, 
while the other is excellent for soft silks, messalines, 
broadcloth and smooth light-weight suitings. 



316 



CHAPTER XIX. 



Muslin Underwear, drafting umbrella drawers, tucking, applying in- 
sertion, gathered ruffle of embroidery, etc.; making a band; 
drafting circular drawers; Underskirts, drafting yoke, finishing 
of tucks, insertion, ruffles of lace and embroidery, etc.; Night 
Gowns; Chemise; Corset Covers, tight-fitting, embroidery, seam- 
less; Embroidery bust supporter or brassiere; Combination 
Suit seamed together at waist line; Combining under garments; 
Combination suit with top and lower portions in one piece; One- 
piece Children's Drawers. 



MUSLIN UNDERWEAR. 
The making of underwear should be considered quite 
as important as the outside garments, for upon the fit of 
the under garments depends largely the fit of the outer 
ones. A great amount of time may be put in on the mak- 
ing of underwear, as the amount of handiwork is unlim- 
ited, the finish often being made entirely by hand, yet much 
fine and beautiful work may be done on the machine, and 
it is a great time saver. Much care should be exercised 
to have the tension draw evenly on both the upper and 
lower threads; also to use just the right size needle and 
thread. One should not expect to obtain good results using 
the same needle and number of thread on all materials. 
No. 80 cotton is the best for white, except on very fine 
material, when 100 may be used for hems and tucks and 
all outside stitching. Every make of machine is accom- 
panied by a table of the size of needles that should be used 
with the different kinds of thread, and it is wise to follow 
these directions. Leave no raw edges on muslin under- 
wear of any kind. Either use the French or felled seam. 
The latter is made by placing the edges together and 
stitching a three-eighths of an inch seam; then one seam 
edge is trimmed close to the stitching and the other edge 

317 



LINE 2 



B 




\^ 




\^ 


CO 




21 


fO\ \ 


J 






^^> 




N 


\ 



is turned in and stitched down over the trimmed edge, 
making a perfectly flat joining. 

To draft a pair of drawers, draw a straight line 27 
inches long lengthwise on a piece of paper and mark it 
Line 1. From the top of Line 1 measure straight out to 
the right and draw Line 2 twenty-two inches long. Draw 
Line 3 from the right end of Line 2 parallel with Line 1 
and the same length as Line 1. Connect the lower ends 
of Lines 1 and 3 with a line and mark it Line 4. (See 
Fig. 142.) 

Measure down three inches from the top of Line 1 
and make dot A. Measure fourteen inches from the junc- 
tion of Lines 1 and 2 and make dot B on Line 2. Measure 
down eighteen inches from the top of Line 3 and make 
dot C. Make dot D on Line 4 seventeen and one-half 



318 



inches from the junction of Lines 1 and 4. Make dot E 
three inches below dot B. Now draw the curved Line 5 
from A to B and also Line 6 from A to E. Draw straight 
Lines 7 and 8 from B to C and from E to C. Draw the 
curved Line 9 from C to D. (See Fig. 142.) 

Now fold a large piece of paper through the center and 
lay the draft with Line 1 on the fold of the paper and 
pin securely. Cut along Lines 5, 7, 9 and 4. Remove the 
draft and unfold the sheet of paper and lay the draft 
back on it, placing Line 1 in the center and cut one side 
by Lines 6 and 8. This gives the pattern complete, and 
makes a medium sized pair of umbrella drawers for a 
twenty-five inch waist measure. If wanted larger or 
smaller, add to or take from on the straight edge or Line 
1. For more length from B and E to C, lay a fold in the 
muslin; for shorter length lay a fold in the pattern be- 
tween dots B and C. For more length from C to D lay a 
fold in the muslin; for shorter length lay a fold in the 
pattern between dots C and D. From A to E is the front 
top of drawers and from A to B is the back top. 

When making drawers use the French seam to join 
the edges of each leg portion and also to join these por- 
tions together in the seam that extends from the front band 
to the back or Lines 7 and 8. In 
open drawers this seam is not 
joined, but each portion is faced 
along this edge with a bias strip 
of the same material. (See Fig. 
143.) This strip may also be cut 
to fit the portion. Stitch the fac- 
ing to each leg portion or along 
Lines 7 and 8 from dot E to C 
and from C up to B. Turn in the |^ |_| 
other edge of the facing and hem pjg 143 

it to the inside of the garment. Facing on Drawers. 

If the leg portions are to be ornamented with tucks, 
allow for the tucks when cutting and tuck the portions 
before stitching the seams. Hem the bottom, however, 
after the seams are stitched. A gathered ruffle of either 
the material or embroidery makes a pretty finish and 
should be inset in the hem, which is cut through its folded 

319 




edge for this purpose. Sew the ruffle to the lower edge of 
the hem and baste down over the seam and stitch. If no 
hem has been allowed sew the ruffle to the edge of the 
drawers so that the seam will come on the inside and then 
face it on the inside with a strip of the material about one 
and one-half inches wide. Baste one edge of the facing 
in the same seam as the ruffle and stitch. Turn in the 
other edge and stitch down to the drawers. 

When insertion, either of lace or embroidery, is used, 
baste it in position with a row of basting on each edge 
and then stitch on 
each edge also; cut 
the material under- 
n e a t h through the 
center and turn each 
of the edges back and 
crease to hold it flat. 
Cut away to leave only 
enough for a tiny hem 
turned back from 
each row of stitching 
and then stitch. (See 
Fig. 144.) 

To make a band for the drawers, take one-half of the 
length of the waist measure and add one inch to it and 
draw a rectangle whose top and bottom will each be this 
length and whose sides will each be six inches, and num- 
ber these lines 1, 2, 3 and 4. (See Fig. 145.) Make dot A 
on Line 1 one and one-half inches from the junction of 
Lines 1 and 4. Make dot B two and one-half inches from 

LINE I 




Fig. 144. 
Method of Applying Lace Insertion, 









-*- — A 


CM 


B_^_^ 


FIG. H5 




LJ 


C^^ 


-"■"LINE 3 








320 



the top of Line 2 and make dot C at the junction of Lines 
2 and 3. Make dot D three inches from the top of Line 
4 and connect dots A and D, also C and D, with straight 
lines. Draw a slight inward curve from A to B. 

When cutting, place Line 2 from B to C on a straight 
fold of the goods. Two bands should be cut from the 
draft for each pair of drawers. The top of the drawers is 
gathered and put into this band. If a wider or narrower 
band is desired, make the rectangle either wider or nar- 
rower. For closed drawers a placket on the one or both 
sides will have to be cut. Cut it seven or eight inches 
long and finish it by sewing a straight strip of facing the 
entire length of the placket and face one side down as a 
faced hem and leave the other out as a fly. This is done, 
of course, before the band is put on. 

DRAFTING A CIRCULAR DRAWER PATTERN. 

For a 24-inch waist measure draw a parallelogram 
on a folded piece of paper whose sides will each be 29 
inches and ends 22 inches and number them respectively 
Lines 1, 2, 3 and 4. (See Fig. 146.) Let Line 1 come on 

the fold. A is made 
four inches from 
top of Line 1 and 
B is five inches and 
C nine inches from 
nction of Lines 1 
and 2. D is five 
inches below C. E 
is six inches from 
bottom of Line 3 
and F is eight and 
one-half inches 
above E. G is two 
and one-half inches 
to the left of F. 
Draw a deep in- 
ward curve from 
A to B, also one 
from A to D. From 
Fig. 146. the junction of 



Rm^^ ^ 







iC\.y>^-UL Y~ 



321 



Lines 1 and 4 draw a curve to E and a slight curve 
from E to G. Next, begin at B and draw a slight outward 
curve to D and continue on down to G, making the curve 
at G by the armhole curve between dots J and C; that is 
let C in armhole curve come to a point about one inch to 
the left of G. Trace Line 1 from A to bottom, also the 
curved line to E. Trace A to B, from A to D, from E to G 
and from G to B. Now, cut along these tracings allowing 
for seams. Unfold the draft and cut one side at top from 
A to D. This represents the front waist line, while the line 
from A to B represents the back waist line. Measure to 
the left of B three inches along waist line and piake dot H. 
This gives the point to make the folded edge of the in- 
verted plait which is used in the back. In the front sec- 
tion draw a line from a point about 2 inches from A to a 
point about two inches from E, which must be laid on the 
straight of the material when cutting. (See dotted straight 
line in Fig. 146.) 

Underskirts are cut 'fW*" 

much the same as out- ' S^ 

side skirts, and to avoid 
the bulky fullness at the 
waist line and over the 
hips, yokes are fre- 
quently used. (See Fig. 
147.) The width of the yoke is usually about five inches. 
To draft a pattern of a yoke, take one-third of the waist 
measure and add the 

width of the yoke to LINt I A B 

it and make a square 
whose ends and sides ^sj 
will each be this meas- ', , 
ure and number the ^ 
lines 1, 2, 3 and 4. ^ 
(See Fig. 148.) Make 
dot A on Line 1 five 
inches from the junc- 
tion of Lines 1 and 4 
and make dot B at the 
junction of these lines. 
Make dot C on Line 



~*- 



Fig. 147. Yoke Sewed to Underskirts. 




322 



2 five inches from the bottom, and make dot D at the 
junction of Lines 2 and 3. Draw deep curves from C to 
A and from D to B. (See Fig. 148.) 

When cutting the material, lay Line 2 from C to D 
on a straight fold of the goods and when making, dot D 
is placed in the center of the top of the skirt. Two yokes 
should be cut for each skirt. Tucks and insertions and 
ruffles of lace or embroidery make a good finish. Allow 
for the tucks when cutting. 

The same pattern for the front of a wrapper will apply 
equally as well to cutting the front of a night gown, except 
that night gowns do not need to be so wide at the bottom 
as a wrapper. The back may be cut 
by the draft given in Lesson 2 by ex- 
tending Lines 21 and 22 the desired 
length, making the bottom the width 
of the goods. Cut off the top of the 
back any desired depth to obtain a 
yoke. They may also be made, with- 
out a yoke. The yoke may be of the 
same material or of lace or of em- 
broidery ; or it may be made of tucks 
and insertion or tucks and plain 
strips.. A ruffle either of the ma- 
terial or of embroidery may be used 
around the yoke. Any mode of trim- Fig. 149. Embroidered 
ming can be used in the finishing. i^uffle Set in Hem 
The sleeves are cut flowing or fastened into a band. Night 
dresses may be cut low in the neck, either round or square, 
and finished with beading through which a ribbon or tape 
is run and the fullness drawn up to fit the wearer. Make 
gowns large and roomy, as they shrink in the laundering. 
In fact, all muslin underwear should be made large to 
allow for shinkage. 

A chemise is also cut the same as a night gown, only 
no yoke is used, and it is made shorter. The top and arm 
holes are prettily finished with beading and ribbon drawn 
through it to regulate the fullness. 

323 





Fig. 150. 
Insertion Above Hem. 



For a tight-fitting corset 

cover use the draft as given 

in Lessons 1 and 2, cutting 

the side forms in the back 

separately and using the 

darts in front. Hollow out 

the neck either rounding or 

square, or cut it V-shaped. 

Sleeve caps may be placed in 

the armholes or trimmed 

around with narrow lace or 

embroidery. 

The simple corset cover that involves little labor in 

the making is the one that appeals to the great majority 

of women. The one illustrated in Fig. 151 is just full 

enough to be pretty under the fashionable blouses, and is 

especially designed for embroidery flouncing. Some make 

them to extend straight around the form below the arms, 

but as this is so low it 
does not afford sufficient 
protection. To allow it to 
come higher, place the 
front and back drafts on 
the embroidery and cut 
out armholes large enough 
to permit the cover to 
come up well under the 
arms. 

It is a good idea to 
cut out a dart under the 
arms to eliminate some of 
the fullness at the waist 
I'ne. Begin at the arm- 
h'jle and gradually in- 
c ease the width until it is 
about one and one-half 
inches wide at waist line. 
The lower edge is 
shaped so that it will slope 
from the back to a dip 
length to form a blouse in 

324 fi'O"*- 




Fig. 151. 



For a 36-inch bust measure it will require one and 
five-eighths yards of embroidery flouncing sixteen inches 
deep. After cutting, close under arm seams in a French 
seam. The fullness at the top is adjusted on ribbon run 
through the embroidery. 

The little circular sleeves are pretty and much liked 
by many women, but they can be used or omitted as liked, 
alsD there is a choice of belt or peplum at the lower edge. 
The corset cover is made in one piece. The right front 
edge is finished with a simulated box plait and the closing 
can be made invisible by means of buttonholes and a flap 
or with buttons or buttonholes worked through the center 
of the hem as liked. The upper edge is finished with 
beading which regulates the size, and the lower edge is 
gathered and joined either to the narrow belt or to the 
peplum. This last can be used or omitted as liked, but 
has the great advantage of keeping the corset cover per- 
fectly in place without bulk over the hips. 

The bust supporter or brassiere is especially practical 
under shirt-waists, unlined blouses, with tea gowns and 
long negligee garments. The 
brassiere is a positive necessity 
for a full bust and fleshy forms, 
for it gives support just where 
it is most needed and where 
the best cut corset often re- 
quires reinforcement. As the 
garment is tight fitting, there 
is considerable strain on the 
material, and goods suflficiently 
strong should be selected, such 
as contille, linen or any similar 
durable m.aterial. Embroidered 
flouncing such as shown in Fig. 
152 may be used — the escalloped 
edge making a pretty finish for ^'^s- '52. 

both upper and lower edges, and renders the making very 
simple. The fronts are drawn very snugly to the figure 
and laid in up-turning plaits at the fronts and when the 
edges are straightened they are finished with a band of 
insertion edged with lace, beneath which the closing is 




325 



made. The quantity of material required for the medium 
size is two and one-half yards of embroidery, nine inches 
wide with one-fourth yard of insertion and a yard and a 
half of lace for front band and sleeves. 

To draft the pattern, outline a front and back ac- 
cording to instructions given in Lessons 1 and 2, using 

the swell 
/^"^-^^..^^^ _ front line. 

'^ ■ -^"""^ '"-"'-^^n-j Extend the 

bust line un- 
til it touches 
the swell 
front line. 
Draw a line 
from the in- 
tersection of 
these lines 
to a point 
one and one- 
half inches 
from dot S 
on shoulder 
line. Draw a 
line from a 
point one 

inch below J to a point one and one-half inches below junc- 
tion of swell front and bust lines. Measure up two inches 
from E and one and one-half inches from left end of waist 
line and draw a line connecting these points. The solid 
lines in Fig. 153 represent the cutting lines for the bras- 
siere, allowing, of course, for seams. 

On the back draft draw a line from a point one and 
one-half inches from P on shoulder line to a point one and 
one-half inches above dot T. From V draw a line to T. 
Measure up from X two inches and from other end of 
waist line two and one-half inches and draw a line con- 
necting these points. Make this line about five inches in 
length by re-drawing the under arm line to a point one 
and three-fourths inches from left end, and the center 
back line to a point one and one-fourth inches from right 
end of line. (See Fig. 154.) The length of the line will 

326 





Fisr. 153. 



Fig. 154. 



vary, of course, in different measures. The solid lines in 
Fig. 154 represent the cutting lines for the back portion of 
the brassiere. 

Cut the front and back portions out, turning the top 
edge of the lower parts under and join to the narrow 
upper parts, as shown in the illustration. Sew up the back 
and under arm seams, then try on, and, drawing close to 
the figure, lay the three up-turning plaits at the front 
edges. 

Another method of making a corset cover is to make 
it without seams. Use the same draft as given in Lessons 
1 and 2, omitting the side forms in the back and instead 
of using the darts, take off in front or on Line 1 from dot 
F to Line 8 one-half the quantity usually used in the darts, 
and the other half from the under arm seam from dot D 
to Line 8. That is, begin at dot F and slant to Line S 
one-half the quantity or width of darts, and begin at dot 
D and slant to Line 8 the other half of the dart's width. 
Cut the front out and place the under arm line on Line 22 
of the back and pin together. Place the center of the 
back on a straight fold of the goods, allowing for fullness 
if desired. The front will come out bias. Hollow out the 
neck the desired depth. Finish with a peplum around the 
bottom and with beading and ribbon at the top or neck. 

To draft a combination suit, draft a front and back 
as given in Lessons 1 and 2, except that you do not need 
the curved forms in the back. Draft the drawers as if 
they were to be made separately, except they should be 
drafted a little longer on Lines 1, 7 and 8 (Fig. 142), to 
take the place of the band or yoke. Unfold the drawers 
draft and join the front to the front of the waist, having 
Line 1 in the drawers meet Line 5 in the front of the 
waist and Line 7 in the drawers meet Line 21 in the back. 

The front of the drawers will then extend several 
inches beyond the front of the waist, as represented by 
dotted line. (Fig. 155.) If the suit is to be made with 
darts, cut on solid front line and extend the darts down 
into the front of the drawers from the waist. If fullness 
instead of darts is desired, retain the full width of the 
drawers, extending the same amount up even with the 
neck. (See dotted line.) When joining the under arm 

327 



seams take up a dart one inch in width and about three 
inches deep in the drawer portion so that it will give a 
smooth ending for the seams. 

One clever way of combining garments is to mount 
the petticoat and the corset cover separately on belts of 
ribbon beading, and to thread the two together with one 
ribbon. Then it is easy to separate the garments for 




Fig. 155. 

laundrying. Otherwise, corset cover and petticoat may be 
sewed to the same belt, or finished separately. Other com- 
binations are corset cover and knickerbockers, or drawers, 
and corset cover, petticoat and knickerbockers. When 
drafting for knickerbockers an allowance must be made at 
the bottom of the leg portions which are gathered and in- 
serted into a band. 

Long cloth and cambric are the favorite materials for 

328 



making underwear. Persian lawn is sometimes chosen 
when very fine material is desired. Lace and embroidery 
are used to an equal extent for trimming, and sometimes 
seam beading is used at every seam. 

When making the last named combination the body 
edges of the knickerbockers must first be underfaced, as in 
Fig. 143. Gather the lower edges of the leg portions. If 
embroidered insertion or beading for the leg band is used, 
sew it to the gathered edge in a French seam. The edge 
of the bands should be seamed first and the lower edge 
should be turned into a tiny hem. If lace insertion is 
used for the leg bands it will be necessary to bind the 
gathered lower edge of the leg in a narrow straight width, 
and then to whip the insertion »to the bound edge. In bind- 
ing the edge lay the straight width against it, right sides 
together, and pin them to assist in distributing the gathers 
evenly. When they are stitched, turn under the free edge 
of the width, then fold it over to the wrong side and fell 
it over the seam. 

Instead of either lace or embroidery a plain band may 
be used which should be cut on the straight of the ma- 
terial. 

Next, seam up the petticoat, leaving an opening for 
the placket, and finish it with a long continuous strip cut 
lengthwise of the material. Baste this strip along the 
placket edges, placing the right sides together; and when 
it is stitched fold it back so it will form an extension, then 
turn under the free edge and fell it over the seam on the 
wrong side. This extension should form an underlap on 
one side and should be folded under on the other side. 
Finish the skirt around the bottom any way desired. 

Now, baste the upper edges 
of the skirt and knicker- 
bockers together. (See Fig. 
156.) Pin the front edges 
of the knickerbockers to the 
center front of the petticoat 
and pin the corresponding 
back edges together. Baste, 
holding the petticoat on the 
under side, so that the top of 

329 




Fig. 156. 



the knickerbockers may be eased in, for it may be slight- 
ly larger. Draft a yoke pattern as illustrated in Figure 
148, and underface its ends. Next, underface the upper 
edge of the yoke, stitching the underfacing at both edges 
and leaving the ends open for a tape to be inserted. (See 
Fig. 156.) 

Baste the petticoat and knickerbockers to the bottom 
of the yoke, first pinning them together, and holding the 
yoke on the under side. This seam may be either a flat, 
or French seam, or they may be joined with seam bead- 
ing. If preferred, two yokes may be used, one faced right 
over the other after all joinings are made. The top of 
yoke is joined to corset cover after any method above de- 
scribed. 

DRAFTING A COMBINATION SUIT WITH TOP AND 
LOWER PORTIONS IN ONE PIECE. 

First draft a plain front and back, using only one 
dart in front and omitting the divisions in the back. (See 
Fig. 157.) Make the top of this dart four inches from 
Line 1, on Line 6, and let its center on Line 8 come at a. 
point straight down from its top. Its width should be 
about one and one-half inches. Cut it low in the neck, as 
illustrated by the solid curved lines, if no fullness at top 
is desired. The drawer portions in the back must be a 
little longer than in front; therefore it is necessary to 
lower the left end of waist line in front two inches. The 
dart, being its widest on this line, will lower the front to 
correct position when basted. 

Extend the under arm line straight down from the 
armhole until it is twenty-four inches long below the 
waist line. Measure down three and one-half inches on 
the line from waist line and make a dot. Measure to the 
right of this dot one-half inch and make another dot; then 
draw a curved line from this dot to E, placing C curve on 
square on Dot E. Continue the line on down until its 
entire length is twenty-four inches, by placing corner of 
square on a point halfway between E and dotted under 
arm line. Draw a line from X through the dot on dotted 
line and continue it until it is twenty-four inches in 
length. 

330 




Fig. 157. 



Now measure to the right end of waist line at back 
and draw a line seven inches long; also measure to the 
left of waist line in front and draw a line seven inches 
long. Draw lines straight down from the end of both 
these lines, making them each twenty-four inches in 
length. (See dotted lines in Fig. 157.) Measure up six 
inches from the bottom of each line and make dots, also 
measure in two inches and make dots and connect these 
dots with straight lines. (See Fig. 157.) Draw a line 
from the center back line to the six-inch dot on the dotted 
line, also draw a curved line from Line 1 in front to 

331 



the six-inch dot on the other dotted line. Connect the leg 
portions at the bottom. (See Fig. 157.) Extend the dart 
in front on down into the top portion of drawers about 
four inches. The dart may or may not be used. The 
draft allows about five inches on the entire back at waist 
line for fullness, but it is a good idea to use an inverted 
plait also in the drawer portion so as to give ample room. 
This is gotten by measuring out to the right four inches 
on the dotted line from waist line and raising this one- 
half inch and drawing a line from this point to the six- 
inch dot below. 

If fullness is desired at top of corset cover in front, 
measure to the left three inches and make a dot and draw 
a line from this point to waist line. This will necessitate 
raising the top line a little to keep it from coming too far 
down. (See dotted lines in front portion.) 

Trace and cut the front and back portions separately, 
allowing for seams. When laying draft on material to 
cut, lay the center front and center back lines on the 
straight of the material. 

To draft children's drawers, take two measures, the 
waist measure and a side measure, from the waist line 
over the hips to the knees. The latter is the length the 
drawers are to be. Make Line 1 from A to Line 4 the 
length of the side measure (Fig. 142), then add one and 
one-half inches above dot A from which to draw Line 2. 
Make Line 2 three-fourths of the length of the side meas- 
ure, plus one inch, and draw Line 3 the same length as 
Line 1, and make Line 4 the same length as Line 2. To 
find dot B, measure out from the junction of Lines 1 and 
2 one-third of the waist measure and add one inch. Make 
dot E one and one-half inches below dot B. To get dot C 
measure up from the bottom of Line 3 one-half the length 
of the side measure and subtract one inch. To get dot T> 
measure out from the junction of Lines 1 and 4 on Line 
4 one-half of the length of the side measure. Draw curved 
lines from A to B and from A to E, also from C to D. 
Draw straight lines from E and B to C. 

332 



DRAFTING ONE-PIECE CHILD'S DRAWERS. 
For a two-year-old child, fold a piece of paper 
through the center and make a square whose sides are 




LIN£ / 



Fig. 158. 

each eleven inches and number the lines 1, 2, 3 and 4 re- 
spectively. (See Fig. 
159.) Let Line 3 come 
just on the fold of the 
paper. From the right 
end of Line 3 measure 
to the left four and one- 
half inches and make 
j(j dot A; also measure up 
three and one-half 
inches from the bottom 
'B of Line 2 and make dot 
B. Connect A and B, 
using the armhole curve 
on square, by placing R 
on square on A on draft, 
having face of square 
down, and the short edge of square touching B between 
dots P and S. Number this Line 5. From the right end 
of Line 1 measure to the left three and one-half inches 
and make dot C. Connect B and C and mark this Line 6. 
Measure down from top of Line 4 one and one-half inches 
and make dot D. Draw a curved line from D to C, using 
A curve on D and edge of square touching C. Mark this 
Line 7. 

333 




LtN£ 3 



Fig. 159. 



Now trace Line 1 from its left extremity to C, also 
Line 7 from D to C. Next trace Line 6 from C to B and 
Line 5 from B to A, then Lines 3 and 4. Cut along Lines 
5 and 6. Unfold paper and cut along the traced Line 7. 

Lay all the entire length of Line 4 on a fold of the 
material (See Fig. 160) and cut to follow all the lines, 
leaving five-eighths of an inch for seams on all the edges. 
Remove draft and fold drawers on Line 3. The entire 
length of Line 7 represents the front top of drawers and 
Line 1 the back top. Lines 5 represent the opening for 
the legs, while Lines 6 are seamed together, leaving open- 
ing at the top for little plackets, which are finished with 
a continuous facing. Gather front and back along upper 
edges. Sew one edge of the waist band to drawers, turn- 
ing lap at back underneath, and fell other edge of band 
over the seam. 




Fig. 160. 

Lap back band over front the width of lap and close 
with buttons and buttonholes. Trim with edging and bead- 
ing. 



334 



CHAPTER XX. 



Selection of Material; How a tall woman should dress; How a stout 
woman should dress; Points to be considered in designing a 
garment; What a blonde should wear; What a brunette should 
wear; Choosing colors that are harmonious, blending and com- 
bining; The touch of black in trimming; Origin of style, where 
styles come from, where designers get their ideas, comparison of 
past and present styles; Copying irom fashion plates; The Study 
of Styles; Bias Bands and Folds, making and applying; Circular 
Yoke, Girdles; Cording; Shirrings; Tucked Shirring; French 
Shirring or Gathers; Ruchings; Pmking; Mode of Applying 
Shirred Trimming; Single Side Plaits; Single Box-Plaits; Double 
Box-Plaits; Applying Fur Trimming; Crow Foot; Tailor's Tacks 
or Mark Stitching; Skirts of Bordered Material; Illustrations 
showing points in Designing. 



SELECTION OF MATERIAL. 
There are many factors that enter into the selection of 
material, and each in its turn should receive due consider- 
ation. Chiefly among these may be mentioned the height, 
complexion, color of eyes and hair, general features, gen- 
eral form and build of the body, etc. Another factor quite 
as important from a practical standpoint is the means at 
one's command — one's financial circumstances. There is 
nothing more out of harmony than to see a woman dressed, 
no matter how well and tastily, beyond her means. It is 
every woman's duty to herself, her family and her home, 
to be at all times as attractive as possible in a quiet, mod- 
est way. It not only elevates the home, but adds much 
toward beautifying the world, and making it a good place 
to live in, but when one dresses simply for a matter of 
display, and far beyond her ability, and thereby deprives 
her family of the real necessities of life, all the charm and 
beauty are lost to those who admire the beautiful — and 
know the circumstances. 

335 



In the selection of material, choose that which will 
add to rather than detract from the beauty and personal 
charm of the wearer. One does not have to dress gaudily 
and in loud colors to be attractive. Simplicity is consid- 
ered one of the chief characteristics of a well-dressed 
woman. Above all dress comfortably. Dress according 
to the laws of nature and in harmony with the surround- 
ings. Beauty in personal appearance is often lost by a 
lack of understanding how to maintain and utilize the 
beautiful gifts of nature. 

HOW A TALL WOMAN SHOULD DRESS. 

If a woman be tall, let her dress so that she may still 
look tall, but not increase or add to her height. It is quite 
the fashion now to follow the long lines of the Greek 
statues, and it has long been an established fact that the 
Grecian women were the most beautiful women of their 
time. What the tall woman needs to study is not how she 
shall look short, but how she shall look tall and slender — 
not tall and broad. The matter of avoiding breadth with 
height ought to be the exclusive subject of her study. 

It is quite true that cross lines detract from the 
height, but what they subtract from the height they add 
to the breadth of the figure. This makes the tall woman 
look huge. The cross lines can be achieved without mak- 
ing the lines straight. The Spanish flounce in vogue sev- 
eral years ago was a deep, graduated ruffle placed on the 
skirt in curved instead of straight lines, giving the upper 
part of the flounce a scalloped effect. This took away from 
the tall woman's apparent height without giving her the 
ugly cross-barred effect. A woman may use the cross 
trimming on her frock and yet let it follow the line of 
beauty, which is the curve. 

The long flowing sleeve borrows from a woman's 
height also. There are numberless variations of them, 
that may be dictated by the moment's mode and by the 
wearer's taste, besides what should always be the first 
consideration — becomingness to the wearer. The tall 
woman should wear short trains to her gowns. She should 
wear materials of the softest, finest sort — cloths that cling 

336 



closely to the figure. For street wear the fine serges are 
becoming to any figure. 

The tall woman should eschew high heels, but neither 
need she wear the too low heels. The flat-crowned, wide- 
spreading hat is the one for the tall woman. The trim- 
ming should be flat or curving, following gracefully the 
lines of the brim. The tall woman should be very partic- 
ular about the way she combs her hair. She should avoid 
a knot at the top of the head as well as the height-increas- 
ing pompadour. Let the hair be parted in the middle, if 
the features are regular; if not, more or less at the side, 
according to becomingness. In wraps she should be gov- 
erned by the same rules as those for choosing her gowns. 

HOW A STOUT WOMAN SHOULD DRESS. 

A stout woman ought not to wear the extreme of any 
style in dress or in hats. She should never lace. By this 
is meant that she should not draw the corset laces so tight 
at the waist that the flesh above and below will protrude 
in unsightly masses. The flesh, as is often remarked, must 
go somewhere, and if it is unduly restricted in one portion 
it will thrust itself forward somewhere else. Every stout 
woman should wear a corset, a good, strong, well-fitting 
one. She should wear them long, with good stout garters 
attached over the abdomen and hips. It should not be too 
high in front. The upper part of the figure should melt 
comfortably into it and rest at ease, yet be in a measure 
independent of its support. 

A stout woman should never wear loose, clinging 
gowns. If the lines are good, as well as ample, be candid 
about them. Flat folds is her watchword for trimming. 
It has long since been a matter of much discussion as to 
whether or not the stout woman ought to adhere closely 
to black to obtain the best results, but of recent years the 
tide has turned and white is fast taking its place, with 
very satisfying results. Black seems to give to a woman 
of large frame that "settled" look that every woman 
dreads. It adds years to her face and a decade or more to 
her figure. Black does not make a woman look any 
slighter than does dark green or brown, or even a very 
dark shade of gray. Solid colors are more preferable than 

337 



stripes or figures. A gown made surplice effect is a divider 
of the figure. A circular skirt is always good because it 
fits flat and snug about the hips and flares at the bottom. 
A narrow band of embroidery or lace down the front cuts 
the expanse of skirt front and adds to the apparent height 
of the wearer. 

When making a selection of material, the design of 
the gown should, to some extent, influence both the style 
of material and the width. For instance, if a circular 
skirt, or one with very wide gores, has been chosen, a ma- 
terial of double width should be selected so as to avoid 
seaming. For a skirt with narrow gores a single width 
material may be used. 

Sometimes a woman is prevailed upon to purchase 
too much material, and sometimes not enough, but it must 
be remembered that one person may cut more economically 
than another, and while one woman may be contented to 
piece out a width, another would refuse to do so, but would 
open the goods its full width so that no piecings will be 
required. This, of course, necessitates a greater quantity 
of material, but it also denotes good workmanship. How- 
ever, there are occasions when small piecings may be re- 
quired at the lower edge of a gore even in the widest 
goods, but this is unavoidable. 

In designing a garment, as well as in selecting the 
material for it, there are important points to consider, two 
of which are the season of the year and the occasion for 
which it is intended. Usually light colors and delicate 
tints or shades are more desirable and pleasing in the 
thin, light-weight materials for summer wear, while the 
darker and more neutral shades are more suitable in heavy 
material for winter wear. Garments for summer weather 
are designed to be light, cool and airy, but for winter they 
must be lined and interlined. For instance, in summer the 
coats are made of light-weight material, open in front, of 
a short length and perhaps with short sleeves. In winter 
the long, heavy double-breasted and high neck collar coat 
is worn, and is usually made of a dark color. Of course, 
there are some who can afford to have an assortment of 
the light colors, such as white, light tan and gray, but the 
average woman can only afford the most serviceable one. 

338 



The same is true of dresses. People in modest cir- 
cumstances must plan and design their dresses according 
to their means. That is, if one can only afford to have one 
"extra" dress or costume, plan and design the making of 
it so that it will be suitable for all occasions as nearly as 
possible. Do not cut it low in the neck and with short 
sleeves, as it could then be only properly worn at evening. 
Do not make it a strictly street dress, for then it could not 
be used as a visiting dress. There are some people who 
can make one dress do for most all occasions for one sea- 
son, and they look well, too. 

WHAT A BLONDE SHOULD WEAR. 

What a blonde should wear depends upon the blonde. 
There are shades of blonde as there are shades of red or 
any color. Just as a piece of cloth may be red and yet be 
scarlet or crimson, wine color or flame color, cherry or 
apple tinted, so a blonde may be of the deep golden va- 
riety, the silver variety, as the ash blonde, or she may be 
a brown or a Titian blonde. 

A correct choice of color has more to do with a 
woman's appearance than most people imagine. It is not 
every one who understands how to choose the right colors. 
A great many women are apt to be much swayed by de- 
crees of fashion, when selecting shades for a new hat or 
dress, perfectly regardless of the fact that these same 
fashionable tints may be most unbecoming to them. 

The blonde, considering the points to be brought out 
by her dressing, should think most about her hair. The 
hair is the brilliant spot or mass in her color composition. 
Whatever throws the hair vividly into relief is, as a rule, 
a good color for the blonde. That is a strong argument 
in favor of the darkest tones for a blonde. Black throws 
up the golden lights in her hair. Brown, of a dark shade, 
does also. So does a very dark gray, with a suggestion of 
black in it. Blondes with clear complexions and good 
color always make a becoming choice when they select 
Nile green or very dark shades of green. 

After the hair, in the consideration of a gown, the 
eyes are secondary, but they are important. The color of 

339 



the gown must not clash with, but must accentuate them. 
A green frock brings out the green in a girl's eyes; the 
blue brings out the blue, and the brown brings out the 
brown. A gray gown, unless carefully selected, makes the 
eyes look hard and stony. 

The complexion, too, demands consideration. If it 
does not receive it when the choice of gown is made, it 
will when it is worn, and the consideration is likely to be 
adverse. A good device is to choose frock and hat of such 
color as will throw the hair exquisitely into relief, and 
select such trimming for the hat as will match and em- 
phasize the color of the eyes. 

The brown blonde, therefore, for street may wear to 
advantage black, the darkest shades of brown, dark wine 
color and dark greens. For evening she may wear most 
of the paler shades of lavender, especially the pinkish lav- 
ender, silver gray, clear white, pink and perhaps tur- 
quoise blue. The golden-haired blondes are beautiful in 
black tulle, lavender, lilac, petunia, pale grays and pinks, 
delicate orchid tints and black trimmed with rose pink 
or turquoise blue. 

WHAT A BRUNETTE SHOULD WEAR. 
Brunettes have a friend in very rare and beautiful 
combinations of colors, black and white. It is always be- 
coming, as well as appropriate for any occasion that may 
arise. One must be very careful in combining the two to 
use the right proportions. For example, the white frock 
trimmed with black should not be so heavily trimmed with 
black as to seem overweighed by it. A touch here and 
there of the black is sufficient. Brunettes have been afraid 
to wear purple because they thought it made them color- 
less. On the contrary, it throws a reddish glow upon the 
cheeks. Pale yellow, deep pink and purples are the bru- 
nette's colors. Ivory white and the pastel shades may be 
moderately worn. The dark reds, when carefully chosen, 
are good, but often certain shades make one look harsh 
and coarse. Heavy red materials, like cloth serges, etc., 
are most trying to nine brunettes out of ten, while all of 
them would look beautiful in soft red tulle, mousselines, 
nets, etc. 

340 



CHOOSE COLORS THAT ARE IN HARMONY. 

Harmony of color is of as much importance as proper 
adaptation of lines. If the color is not in harmony with 
the wearer, the smartness of chic is destroyed. The fin- 
ished product must be characterized both by a unity of 
color and a symmetry of outline. 

Red and green may produce good results, provided the 
right shades are used. For instance, a red which is dulled 
with brown may be trimmed with dull green with har- 
monious results; or a soft dull green gown may be com- 
bined with trimmings of dull red, without violating the 
rules of color harmony. ^ 

Brown and blue are not complimentary colors, and yet 
they are frequently used together. All browns are either 
yellow or orange dulled with black. There are red browns 
and yellow browns, and the most harmonious combinations 
for these are warm yellows, orange or red with a yellow 
tone to it. Brown is a warm color; gray, or most grays, 
are cold; therefore, the latter — the blue grays in partic- 
ular — combine well with pale blue. 

Pink in the hands of the artist may have a good many 
liberties taken with it, and with excellent results. In the 
hands of the average person it combines best with white 
or black or a slightly deeper shade of pink. There is a 
soft pale green which is the complimentary color of pink. 

Black whitens the fair skin, but is not so becoming to 
a dark complexion. A brunette should always wear glossy 
black, while the blonde may wear the dull finish. White is 
the most universally becoming color. It seems to soften 
the skin and make one appear more youthful. All shades 
of green are becoming to a complexion which has high 
colorings, as the green seems to whiten the skin. 

In blending colors one of the main points to be re- 
membered is that they must be of the same tone. The 
colors may have the same name, but the tone or tint or 
hue may be quite different. A tint is any color modified 
by white. A shade is any color modified by black. A hue 
is any color modified by another color. Tone is a state of 
color as it passes from light to dark. 

When combining colors on an evening dress or gown, 

341 



great care must be exercised in the combination, as colors 
look very different in artificial light from what they do in 
daylight. 

THE TOUCH OF BLACK. 
No matter for what purpose a gown is designed or of 
what material it is made, the effect is greatly enhanced 
by introducing in the costume a little touch of black. 
Oftentimes a really simple frock is given a touch of con- 
servative elegance in this way. Sometimes it is merely 
a black velvet ribbon below the ruching at the neck 
fastened in place with a pretty pin. One or two rows of 
the narrowest black velvet ribbon at the top of stock, also, 
at lower edge of cuffs finished with tiny bows of the 
same are very effective. One pleasing fad is that of 
black-rimmed buttons outside a mold covered with the 
fabric of the gown. Often the belt, when made from the 
same material as the costume, is piped top and bottom 
with black velvet; such a belt gives a very smart air to 
a white serge, or mohair gown. Trimmings of black in 
silk, satin, or velvet buttons, soutache braid with buttons 
and simulated buttonholes of the same and French knots 
are much used. Some shades of blue with black trim- 
mings are beautiful, various rose shades are greatly en- 
hanced by just a little bit of black used in the garnitures 
and even taupe and smoke shades are made richer by the 
addition of a little black, while the various buff and yellow 
shades, the prairie greens and the like are vastly more 
beautiful with some little bit of black used in combination 
than where such trimmings are omitted. 

ORIGIN OF STYLES. 

The question is often asked, "Where do styles come 
from?" or "Where do the designers get their ideas?" On 
the following pages are three styles worn just exactly one 
hundred years ago with three companion styles worn at 
the present time. The fourth couplet shows a style worn 
fifty years ago and one worn now. 

The first couplet illustrates the empire. Note the 
similarity of the two. About the only difference is in the 
waist and puff sleeves, the older one being plain, while 
the new has a little fullness. Observe the second couplet — 

342 




.-> 






*/>>^ 



343 



the cape with its hood. The older one has rounding edges, 
while the newer one has corners. In many cases the modern 
opera cape is made nearly an exact copy of the former style 
— open in front, with rounding edges and trimmed in lace. 
Note the long handle parasols in each instance. 

The third couplet illustrates the scarf or drapery worn 
one hundred years ago and today. Thus it will be seen that 
the long lines of present day styles are copied from those 
of a century ago. In the fourth couplet it appears that 
the designer surely had this fifty-year-old gown before him 
when designing the accompanying gown. The lace and 
flowers are very similar. The overskirt is draped a little 
higher and fuller in the older style. The flowers are bunched 
together in the old, whereas in the new they are made to 
follow the outlines of the overskirt. In this particular de- 
sign you have practically a duplicate of the older style ; the 
only difference of much consequence being the omission of 
the bustle, which has long since been discarded. 

Take for another instance the 1910 auto cap or bonnet 
for the feminine sex. When it first made its appearance 
the motor girl was quite sure she was attired in the very 
latest fashion when donning one of these, but she was only 
wearing an adaptation of the calash worn so jauntily by 
her great-grandmother in 1776. 

Thus it appears that styles are a repetition of them- 
selves in a modified form. The creators of styles simply 
go back to the old fashions of ages ago for their ideas and 
work them over, making a change here and there, which 
the people accept as new and "just from Paris." A year 
or so ago the Louvre in Paris was ransacked to satisfy 
the desire for ideas to be gained from styles that prevailed 
during the French Empire, and, as many of the garments 
worn by Empresses are in that museum, it attracted scores 
of designers, who immediately copied them, with a few 
changes, and handed them to the public as new. Hence we 
have the now popular "Empire" with its scores of modifi- 
cations. 

In the same way, the directoire gown, which recently 
had such a rage, was evolved from styles which were in 
vogue during the Directorate Period in French history, 
taking its name therefrom. 

344 





345 



COPYING FROM FASHION PLATES. 
With the knowledge you have gained from these les- 
sons you ought, by a reasonable amount of practice, to be 
able to reproduce most any of the costumes and dresses 
you see illustrated in the fashion plates of the fashion 
magazines. Every woman, whether she sews only for her- 
self and family or for the public, should take at least one 
of the leading fashion magazines, and as many more as 
her means will permit. They constantly reflect the ever- 
changing styles and foretell the tendency toward change 
and the trend in which the coming fashions are moving. 
Changes in styles are not sudden or abrupt, as some sup- 
pose, but rather gradual and slow. The first showing of 
styles for a season are sometimes extreme and do not stay 
in vogue very long, therefore do not copy them too closely. 

In former years the fashion magazines showed only 
the general outline of the gown or costume, leaving all the 
draping and trimming to the originality and ingenuity of 
the dressmaker. But of later years the finished garment 
in colors true to life is shown to the best advantage on the 
figure, oftentimes being even exact photographic repro- 
ductions. You have learned how to draft your own pat- 
terns, which may be applied to any fashion plate design. 
The draping and trimming are left entirely to your own 
taste. You can use the plan and scheme for finishing the 
dress as illustrated or may modify it to suit your own taste 
and convenience. Perhaps you can make a combination of 
two or three of the styles given. You may like the waist 
of one and the skirt of another. If so, put the two together. 
Where the illustration has several rows of small tucks, you 
may prefer one or two large ones, or where it has tucks 
you may prefer shirring. If so, make the changes. Do not 
be afraid of yourself. "Nothing attempted, nothing gained," 
you know. 

If you have always relied upon ready-made patterns, 
and thought it impossible to reproduce the fashion plate il- 
lustrations without patterns, you will be surprised at the 
ease and success with which you can duplicate the illustra- 
tions from your own drafting. Study the fashion journals 
as much as possible. Practice every spare moment at re- 
producing some gown, or a part of it, by cutting the differ- 

346 





347 



ent parts out of paper or some cheap cloth before attempt- 
ing it on costher goods. 

One cannot expect to be skilled in designing unless 
the proper materials are at hand with which to work and 
design. First of all, it is quite necessary to have a form and 
some cheap material, such as cheese cloth, silesia, etc., to 
practice on. The material may then be pinned and ar- 
ranged upon the form any number of times in different 
ways, making it a decidedly easy matter to copy or repro- 
duce any style in the fashion magazine. One can then pin 
and unpin, arrange and rearrange until the desired effect 
is produced. 

After the cheese cloth is draped upon the form the 
way you wish a waist or skirt draped, you can then re- 
move the cheese cloth and drape the material right on the 
form without any delay or difficulty. Always purchase the 
cheese cloth with which you practice and experiment as 
wide as the material which you are going to make up; 
then you will not have to drape and redrape the material 
on account of it not being the same width as the cheese 
cloth. For skirts use the cheap grade of cambric, as it 
has just enough stiffening in it to work well. 

When making belts or girdles, buy the belt forms al- 
ready made for that purpose, and get them a size or two 
larger than the waist measure so they can be fitted to your 
own figure. 

On the blank form (Page 32) you are asked to make 
n, sketch with pencil of just such a gown or dress as you 
think will be appropriate for all occasions. You may use 
your own original ideas or copy from the fashion plates 
or magazines. Make some change in it, however, for the 
sake of the practice in original designing it will give you. 

THE STUDY OF STYLES. 
The student will find the study of styles a very fas- 
cinating one. Every season has its predominating or char- 
acteristic elements, some of which are more pronounced 
than others. The student of styles can pass many an 
entertaining half-hour with her fashion magazine before 
her, analyzing and classifying the different elements in 
the style illustrations given therein. 

348 





fit ■ ■ 



349 



As a rule the different elements gradually develop 
into some other type or fade away entirely from season 
to season. Thus the chief elements of present day 
(1910-11) styles may be classified as follows: 

1. The overskirt or tunic with its manifold forms 
and modifications. 

2. The panel effect in varying widths and lengths. 

3. Princess and semi-princess gowns, both of which 
have been very prominent for some time and are still quite 
popular. 

4. The Russian blouse. 

5. The one-piece dress and coat. 

6. Long lines in all designs, characteristic of both 
last season and this. 

7. Artistic draperies, both solid and transparent, 
including fringes, ornamental spangles and jets. This 
element bids fair to almost become a "rage." 

8. Small, short sleeves with a gradual tendency 
toward fullness at the bottom. 

9. Semi-fitting effects in coats. 

10. Small yokes. 

11. Tight-fitting dresses. 




Fig. 161. 
Basting Bias Stips. 



BIAS BANDS AND FOLDS. 

Bias bands, folds and ruffles 
are used so extensively in 
dressmaking that it is very de- 
sirable to know the best and 
quickest way of cutting and 
making them accurately. Spread 
the material of .whatever the 
bands are to be made smooth 
upon a table, and mark up four 
inches from the lower left-hand 
corner on the left selvage, and 
also mark four inches to the 
right of the left corner. Using 
a yardstick or ruler, draw a 

350 



Fig. 162, Diagonal Joining 
for a Bias Strip. 



line with chalk or pencil from 
one mark to the other. From 
this line mark the desired width 
for the bias strips and draw an- 
other line through these marks. 
Continue marking off from last 
line made each time until you 
have a sufficient number marked 
off. (See Fig. 161.) Cut through the lines and join the 
ends together neatly and accurately. Always join the right 
end of one piece to the left end of another piece. Make the 
seams diagonally, not vertical. (See Fig. 162.) 

Bias folds are used in many instances and for many 
purposes and are made of various widths. The milliner's 
fold is made by turning the top edge over one-half inch. 
The lower edge is then turned under a seam's width and 
is brought up to within one-fourth or one-eighth of an 

inch of the 

top edge. 
(This is 
decided by 
the size of 
the fold 
being 

made.) (See Fig. 163.) When several folds are put on 
a garment the lower ones are made plain by folding each 
through the center lengthwise, bringing the two raw 
edges together. Turn the raw edges in toward the in- 
side in a narrow seam and baste along close to the edge. 
The milliner's fold is put on at the top by slip-stitching it 
on. 



When ap- 
plying straps 
to seams on 
a coat, avoid, 
if possible, 
placing the 
joinings o f 
the straps in 
a prominent 
place ; it is 




Fig. 163. Narrow Stitched Milliner's Fold. 




Fig. 164. Making Strap for Seam. 
351 




better to waste a few inches and discard the piece with the 
seam in it. To make straps for a coat cut them about one 
and one-fourth inches wide ; fold evenly through the center 
lengthwise, right side out and overhand the two raw 
edges together very loosely with coarse even stitches. (See 
Fig. 164.) Flatten it out so that the row of overhanding 
will come in the middle of the strap and press well on the 
overcast side. Baste it over the seam on coat and stitch 
near each edge through both strap and coat. 

When making crepe folds, cut them straight across 
the goods, if possible, as this will show the crinkles run- 
ning diagonally. When cut bias the crinkles will run 
straight and the effect is not so good. 

Silk folds are usually cut bias, and a home-made ap- 
pliance by which they may be accurately and quickly 

made is shown in 
Fig. 165. Cut the 
bias strips twice the 
Fig 165. width of the desired 

fold, stitch them together, making the seams at the 
selvages, and press the seams open. Cut a short strip 
of cardboard the width of the completed fold. Wrap 
around it two or three times a piece of thin card — a 
postal card answers admirably — and paste the edge down. 
Lay it under a book or an iron until the paste is dry, 
then remove the piece of thick card that is inside, and in 
place of it run the silk, folded, with raw edges meeting 
in the center. Press with a warm iron over a damp cloth, 
pushing the card along, forming and pressing the fold at 
the same time, using straight end of iron. 

CIRCULAR YOKE. 

Place the shoulder seam of the front to the shoulder 
seam of the back so that the neck line will be one con- 
tinuous, line, and lay these on a piece of paper. Trace 
around the neck curve in both front and back, and also 
down the front and back the width you wish the yoke 
to be. Remove the drafts and cut out the neck curve 
and round it at the bottom. If yoke is to open in front, 
lay the back edge on a fold of the goods; if it is to open 
in the back, lay the front edge on a fold. If you wish to 

352 



make a circular yoke of bands and trimmings to run 
around, baste them on to the paper pattern, shaping 
them as they are basted. The bands or trimmings, what- 
ever they are, may be fastened together with fancy stitches 
or in insertion with a cord on the edges, one edge may be 
drawn up to make it lay flat on the pattern. Overlap edges 
sufficiently to stitch. 

GIRDLES. 
The foundation or form for the different styles of 
girdles can be purchased so reasonably that it saves a 
great deal of time to purchase them already made up. 
However, if you prefer to make them, use a bias piece of 
canvas, cutting it the shape and width you wish the 
girdle to be. Stitch a small dart under each arm and 
probably in the center back to make it fit at the waist 
line. Or cut by waist draft in Fig. 5, Lesson 7, making 
it as high and as low below waist line as desired. Then 
fit it to the form or figure and open and press the seams. 
Stitch featherbone in the front, back and under each arm 
on the seams. Cover the edge of the canvas with the ma- 
terial and the girdle is ready to be draped. 

CORDING. 

Cording is made of bias bands about three-fourths 
of an inch wide, with a cord placed in the center and 
the goods folded down over it and basted close up to the 
cord. Rows of plain cording are made by folding over 
the material at the desired places, putting the cord in 
position and sewing along with short stitches close to 
the cord. Make as many rows as you wish at regular 
intervals.^ The cord may be any size desired. Be very 
careful not to let it twist when basting it in. 

To make shirred cording first mark the distance 
apart the rows are to be, if more than one row. Then 

put the cord under the ma- 

_L ^^^.^.... _4i^^i^,(^^^^ terial at each line of mark- 

iizz fc^^^-.- r-M?7<f^^ ing and sew them as in plain 

____ L..^^n^a>_.... ■ /^^^;>^»yg<;:y. ^ cordlng, being careful not to 

^_ L-jn^g^^...^^....,^ ^|vu^j.^^^^^^^^^ catch the cord. The desired 

I / 1 ' I number should all be run in, 

Fig. 166. Cord-Shirring. then drawn up together, be- 

353 



ing sure that the cords are drawn up evenly at the same 
time. (See Fig. 166.) By the use of a corder this may be 
done on the machine and much time saved. 

SHIRRINGS. 

There are many different styles of shirring, the one 
most commonly used being the straight plain shirring. 
If more than one row is used, they should all be marked 
first. If the material is too thin and flimsy to be marked, 
run a colored thread in, which can be removed after the 
shirr thread has been put in. Do not use very fine 
thread or silk, because it will knot and break. Make a 
large knot at the end of the thread before starting, so it 
will not pull through. Leave a long thread at the end of 
each row. 

TUCKED SHIRRING. 

This is made by making a tuck any width desired and 
shirring it. They may be put in singly or in clusters. 
Great care must be exercised in the marking of these 
tucks, as any unevenness whatever in the shirring mars 
the effect entirely. Tucked shirrings of this character 
can be shaped to accommodate almost any pattern by 
drawing up or letting .___ 









out the threads. If 
necessary, the thread 
of the first tuck may 
be much shorter than 
the last, if a curve is 
being formed. Tuck- 
ed shirring somewhat ^'^- '^^- P^^-Tuck Shirring. 
resembles cord shirring, only it has a softer ^pearance. 
(See Fig. 167.) 

FRENCH SHIRRING OR GATHERS. 
These are made by taking a succession of small 
stitches on the under side and longer ones on top. These 
stitches must all be kept the same length as when begun 
to insure evenness. Three rows are usually made and 
the stitches in each row must come one below the other 
to draw up properly. This method is particularly desir- 
able for heavy material and is used when adjusting a 

354 



quantity of material to a comparatively small place, as is 
sometimes used at the back of skirts. 

RUCHINGS. 

Ruchings are made fuller than ruffles and before they 
are gathered they should measure about twice the length 
of the space they are to cover. They may be cut straight 
or on the bias. When making them of chiffon or net, cut 
them on the straight. Cut as many strips as desired and 
join them with seams. They should be about two inches 
in width. Fold the top edge over one-fourth of an 
inch, bring the lower edge up to the center of the strip 
and fold the top edge, which has been turned under, over 
it. This brings both edges to the center so that no 
raw edge remains. Shirr through the center and the 
ruche is formed. 

Single ruchings of silk or woolen materials are cut 
in bias strips about two inches wide, seamed together 
and pinked on each edge, and either plaited or shirred 
through the center. In cotton goods they are hemmed on 
each edge with a narrow hem. 

There is also a three-tuck ruching which is made 
by cutting the strips six or seven inches wide and seam- 
ing them together. Then fold through the center like- 
wise and mark along this fold. Open it again and bring 
the top edge to within one-half inch of the center fold or 
mark; also bring the lower edge up to within one-half 
inch of the fold. Fold through the center again where it 
was folded at first and shirr it along one inch from the 
center fold. When the shirr is drawn up there will be 
a ruche with three tucks equal in width. 

PINKING. 

Pinking is used either on bias or straight materials, 
but the former gives much better results. It is done with 
a pinking iron which should be very sharp. They come 
in different sizes and patterns. 

The edges to be pinked should be folded together 
with several folds of the goods and basted securely to- 
gether. If the material is heavy only two or three 

355 



thicknesses must be cut at one time, but in thin, soft ma- 
terials several thicknesses can be cut. Place the ma- 
terial on a block of wood and holding the pinking iron 
in position, strike it very hard with a hammer, being 
careful to hold the iron level so it will cut through all 
the thicknesses. Do not raise the iron until you are 
certain it is all cut, which may be ascertained by slightly 
pulling the edge which is to come off. If it does not come 
readily give the iron another stroke. Continue until the 
end is reached. 

MODE OF APPLYING SHIRRED TRIMMING. 

Before shirring any material always divide it into 
fourths, making marks at the division points; also divide 
the place where the shirring is to be applied into fourths. 
Then use a thread at least long enough to shirr one- 
fourth of the material each time, and when applying the 
shirring to a garment, pin the quarter marks of the 
shirring to the quarter marks on the garment and adjust 
the gathers equally between each two quarter marks, let- 
ting the seams come in as inconspicuous places as pos- 
sible and baste it. It may then be stitched or fastened 
down by hand. Fasten the ends of each thread securely 
and clip off any extra length. 

SINGLE SIDE PLAITS. 
Single plaitings require about three times the length 
of space where it is to be applied. The plaits are usually 
cut on the straight of the material and are any length 
desired. One edge should be hemmed before plaiting. If 
you chance to have a plaiter, follow the instructions 
which accompanied it. If done by hand, begin at the 
hemmed edge and lay the plait the width wanted, and 
baste as you proceed to the other end with small run- 
ning stitches right on the edge of the plait to hold it down 
firmly, so that when pressing the edge will not turn up. 
Keep the edge of the plait on a straight thread of the 
material. Lay the next plait in the same manner, allow- 
ing it to come right up close to the plait just laid, and 
continue until the plaiting is finished. If the plaits are 
very wide, more than one basting thread will have to 

356 



be put in. It is then pressed. Lay the plaiting on a 
pressing board or table with the wrong side up; wring a 
piece of muslin out of water as dry as possible and 
spread over the plaiting. Use a hot iron and press until 
the muslin is perfectly dry. Do not try to press very 
fast or the plaits will twist and wrinkles will be pressed 
in them. In such a case the muslin will have to be re- 
dampened and the wrinkles pressed out. Always use a 
fine thread when basting the plaits in, as the bastings 
are not removed until after the pressing is done and 
coarse thread will often leave marks. 

SINGLE BOX-PLAITS. 

Single box-plaiting also requires about three times 
the length of space it is to cover. It is made by first 
turning a side plait, then reversing and turning an equal 
sized plait in the opposite direction, bringing two single 
side plaits facing each other on the wrong side. These 
are pressed in the same manner as single side plaits. 

DOUBLE BOX-PLAITS. 

Double box-plaits are made like single box-plaits 
only that two side plaits are laid side by side, the lower 
one extending out a little farther than the upper one. If 
three of these side plaits are laid they are called triple 
box-plaits. Double box-plaits require about four times the 
length of space to be covered and triple box-plaits require 
six times the length of space. These plaits may be laid 
solid or with spaces. 

Ruchings are frequently made of the double and 
triple box solid plaitings, and either hemmed or fringed 
on the edges and stitched through the center, 

Plaitings are applied on underskirts in different 
ways; sometimes the raw edge is basted to the garment 
and then covered with a bias strip or seam covering; 
sometimes they are made with a heading of their own 
by turning the edge over at the top before the plaiting 
is done, and then stitched on. Another way is to 
measure up from the bottom of the skirt three-fourths 
of an inch less than the width of the trimming to be ap- 
plied, and mark this width all around with a colored 

357 



thread. Place the plaiting on the skirt with its right side 
toward the right side of the skirt, and its lower edge 
toward the top of the skirt, and its upper edge even with 
the mark which was made with the colored thread. 
Baste and then stitch. Remove the basting and let the 
ruffle or plaiting fall over. This may be restitched at the 
top after the ruffle is let down, though this is not neces- 
sary. 

APPLYING FUR TRIMMING. 

Applying fur trimming is not a very easy matter, 
especially to one inexperienced in that line. Use what 
is called a glovers' needle, and heavy glazed thread or 
buttonhole twist. The trimming is usually sold in bands 
of different widths. When necessary to join the widths, 
turn the pelt side up and push the fur away as much as 
possible and join with an over and over stitch. When 
cutting collars and revers from the fur piece, first tack 
the fur to a board with the pelt side up, stretching it 
well. If the pelt seems hard and dry, dampen it to make 
it soft and pliable. Lay the pattern on and outline it 
with crayon or pencil. Then use a sharp pen knife 
and cut through the pelt only. If there is a weak place 
in the skin it must be drawn together before it is 
stretched upon the board. When joining pieces of fur 
be careful to have the hairs run the same way in the 
different pieces. Apply fur trimming to the cloth with 
a close hemming stitch. Hold a piece of cardboard next 
to the fur and close to the edge where it is being ap- 
plied and the thread will not twist and knot up with the 
fur. The cardboard can be moved along as it is sewed. 

CROW FOOT. 

To make a crow foot, first make a pefect 
triangle, the size you desire, then at the center 
of each of its sides make a dot a trifle inside 
(See Fig. 168), and connect these dots with 
the corners on same side of triangle. Cut 
i-if^. 168. along these lines and lay it on the garment 
just where the crow foot is desired, outlining edges care- 
fully with tailors' chalk. For working use coarse button- 

358 




hole twist or twisted embroidery silk, which is generally 

the same color as the material. However, black is very 

much used on dark shades. The stitches should be taken 

as close together as possible without overlapping, so that 

the work will be smooth and even. 
The crow foot is begun by 

bringing the needle up just 

a trifle to the left of one of 

the points, (See A, Fig. 169), 

and turning work so that B 

will be at the top, take a 

stitch as small as it can be 

taken across the point at B, 

turn work as before so that C will be at top and take a 

stitch similar to that at point B. Next take a stitch at 
the right of A coming up on dotted outline 
and as close as possible to the stitch from A to 
B. Continue in this way until entire outline 
is filled in, keeping just outside of outline and 
always outside of the made stitches. (See 

Fig. 170. pjg. ^rjQ^ 





TAILORS' TACKS OR MARK STITCHING. 

Tailors' tacks are used by tailors and dressmakers 
when basting two sides of a garment so as to have them 
both exactly alike. This requires much less time than 
basting each side separately. It is generally employed, 
after cutting, when one si^e of the material has been 
marked with tailors' chalk and the seams and other in- 
dicating marks of the forms are desired exactly alike 
on both. The stitches pass through both thicknesses and 
if the edges are kept even it is not possible for the lines to 
deviate. It is made as follows: 

With a double thread of basting cotton baste through 
both thicknesses of cloth, using one long and two short 
stitches, leaving the long stitch loose enough to form a 
loop under which the finger may be placed, and repeat 
all around through the chalk marks. Then take hold of 
the two edges of the cloth and gently separate them, so the 
stitches which hold them together can be plainly seen, and 
cut the stitches in the center as they show between; this 



359 



will leave the threads in each piece of cloth which will 
represent the sewing line, and both sides will be found 
marked exactly alike. 

SKIRTS OF BORDERED MATERIAL. 

To make a plaited or tucked skirt of material with a 
border at the bottom, the plaits or tucks will need to be 
laid in at the hip and waist line according to the measure- 
ments of the person for whom the skirt is intended. First, 
make a plain seven-gore skirt pattern, which will help you 
in determining the exact length and it will be a guide in 
laying the plaits at the points mentioned. Lay off the 
width of the front, which will be according to one's taste, 
or the model followed. It is the best plan not to cut the 
material off at the waist line until the final fitting and the 
position of the band is permanent, as much more depth is 
required in the back of the skirt than one would suppose 
before laying the plaits. Where the plaits are to be deep, 
and there is considerable difference between the hip and 
waist measure, it is a good plan to gore the front about 
half way down or farther in order to get rid of some of 
this difference. Lay the plaits at the hip line and then 
continue in a straight line to the waist line (laying them 
close enough together to conform to waist measure), and 
extend in a straight line to the termination of the plait. 
That is, divide the space at the hip line and the space 
where plaits are to terminate into as many equal parts 
as there are plaits. Where one objects to the seams in 
goring, and the material is not so thin that they will show 
through, they may be made on the edge of a plait. If the 
material is thin, however, the seams may be covered with 
applique or insertion of lace or embroidery set in, and in 
this case also introduce some into the waist, but it will not 
be necessary at all to have this trimming match that in 
the bordered dress pattern. 



360 





These illustrations are used to show points in design- 
ing, and to indicate how the same general outlines may 
be used in both garments yet changed in such a way as 
to practically have two different designs. Note the panel 
effect in both — one extending full length and^ the other 
to bust line only. The manner of applying the insertion 
is similar yet there is a difference also. The plain skirt 
in one is changed to the flounce skirt in the other. Thus, 
by studying, comparing and contrasting the two designs, 
you may find other elements of similarity as well as addi- 
tional points of difference. 



361 





In these two illustrations we have practically the 
same bodice, but a variation in the overskirt. One is 
made with the extreme point in front and with much less 
depth on the sides, while the other has just a suggestion 
of a point with not much difference in the depth on the 
sides. One is trimmed with band trimming, while narrow 
braid is used on the other. One has the plaited skirt 
underneath overskirt, while the other is plain. See what 
other likenesses and differences you can discover in these 
two designs. 



362 




363 



CHAPTER XXL 



Fitting up a dressmaking shop; location, room, space, reception room, 
sewing room and fitting room, furnishings; How to construct a 
form for one's own use; Household Recipes. 



FITTING UP A DRESSMAKING SHOP. 

The first thing to be considered in opening up a dress- 
making establishment is the location. As it is to be a busi- 
ness concern it should be located where you will get the 
most business, and where it is most accessible. Unless one 
has a large capital with which to start, it is better to avoid 
the strictly business part of the city because of the high 
rents usually charged in those parts, and locate nearer the 
residence district. 

The next thing to consider is your room space. You 
may not be able to find just what you would like, but 
by a little planning and ingenuity on your part, you can 
arrange it so as to meet all the necessary requirements. 
Select one large, airy, light room, or a suite of three rooms. 
The former, you can curtain off into three divisions — 
a reception or office room, a fitting room and a sewing 
room. Or, you may have a carpenter partition off the space 
for you, using cheap ceiling lumber and extending the par- 
titions only a part of the way up. In the reception and 
fitting rooms put neat white swiss sash curtains at the 
windows. 

Make your reception room or office as cheerful and 
home-like as possible. The furniture, of course, will de- 
pend upon the amount you wish to spend on it. A rug, a 
table well supplied with fashion magazines, two or three 

365 



rocking chairs and a few pictures on the wall, including 
your diploma, if you like, are all that are necessary in this 
room. 

In the fitting room you will need only a full length 
mirror, a small table and one or two chairs, and a good- 
sized footstool upon which your patron can stand when 
measuring length of skirt. 

The sewing room is the most important of all, as this 
is where you will spend the greater part of your time and 
where the bulk of the work is done. Too much care and 
judgment cannot be exercised upon the arrangement of 
this room. Above all, have all the daylight you can possi- 
bly get, as the best results in sewing are to be obtained 
only in good daylight. Next to light is convenience. Ar- 
range all the furnishings of this room with the object of 
having everything as convenient as you can. One machine 
may do for a while, but you will probably need two or 
more soon. 

There should be at least two long tables in this room ; 
one should be high enough to draft and cut the patterns 
and material without having to bend over ; the other should 
be low enough to sit and sew. Both tables should be 
well supplied with drawers in which to keep all the acces- 
sories, such as the uncut materials, linings, canvas, trim- 
mings, unfinished garments, etc. 

Provide each helper with an easy chair, lapboard, yard 
stick and a work box containing scissors, basting and sew- 
ing thread of the different colors, needles, hooks and eyes, 
tapeline, tailors' chalk, tracing wheel, emery, etc. Avoid 
having them to get up and look for all these things, as it 
takes time and provokes worry. You will need about three 
press boards — a waist board, sleeve board and skirt board, 
all of which should be padded and covered with heavy 
muslin. 

The waist board should not be very wide and not nec- 
essarily over two feet long. The sleeve board is a narrow 
board, wider at one end than at the other. The skirt board 
is a long common ironing board, over which the skirt can 
be easily slipped and the seams pressed. This board may 
answer the purpose also of the other two boards. Two 
small irons and one large one to press heavy material are 

366 



needed. Several pieces of muslin should be provided, as 
they are sometimes needed in pressing, as explained in a 
former chapter. 

Several simple bust forms may be needed, or one of 
the adjustable forms, bust and skirt combined, will be all 
that is necessary for a while. Besides the shears for cut- 
ting and trimming you will need one or more pairs of but- 
tonhole scissors. Keep them all sharp. Do not depend 
upon newspapers in which to send out the finished gar- 
ments. Buy a roll of wrapping paper and have it attached 
to one end of the table. You will need this also in draft- 
ing patterns. On one side of the room tack a strip of 
muslin about two or three inches wide to pin the different 
garments to as finished. Don't throw them over the back 
of a chair or on a table where they will become wrinkled. 

When drafting patterns notice if your tapelines cor- 
respond with the yardsticks in length of inches. Tapelines 
often draw up and this will cause a great deal of trouble. 

HOW TO CONSTRUCT A FORM FOR ONE'S OWN USE. 

Where family sewing is done in the home it is almost 
as important to have a dress form as it is to have a ma- 
chine, and one may be constructed at much less cost than 
the boughten ones and will answer the purpose quite as 
well. 

Cut and seam a lining of some very strong duck or 
drilling crossways of the material. Use the darts in front 
and the forms in the back and cut it at least six inches 
below the waist line. Use the measures of the person for 
whom you are sewing, so that every curve and line will 
conform to her figure in its proper place. Fit the lining on 
the person as carefully and perfectly over the hips as any 
part of it. Stitch the seams with very coarse thread to 
make them stout. Stitch up the center front line, leaving 
a space in the middle large enough to admit the hand and 
fill the lining with bits of cloth and cotton. The latter is 
better, but requires a large quantity, as it must be made 
very solid. This will take lots of time and patience, for the 
stuffing must be done evenly and smoothly in order to bring 
out the curves. Cut a piece of cardboard the size of the 
neck and two inches wide and fit inside the neck of the 

367 



lining. Glue it to the lining. Use a stocking leg to form 
the arm. Take a large dart in it at the elbow point to form 
the bend at the elbow. Stuff this until it is the same size 
as the arm, and make it the same length as the arm. Sew 
it in the armhole of the lining. Be sure there i^ enough 
stuffing at this point. Since the form is now perfectly 
fitted to six inches below the waist, the skirt can be fitted 
also. Place the stuffed lining upon a standard or pole of 
some sort, having it arranged so the skirt will hang freely. 
If a bustle and hip pads are worn, remember to place them 
on the form also when fitting the skirt. 

Papier mache forms, such as are seen in stores for dis- 
playing goods upon, can be purchased at a slight cost, and 
by putting the fitted lining over this and stuffing it out 
where necessary, saves a great deal of time. Where there 
are two or three in family to sew for it is better to pur- 
chase one of these forms, having the bust measure cor- 
respond to the bust measure of the smallest person. Each 
one will need a fitted lining, then when using the form put 
on the lining needed and stuff it up. In this event, do not 
stitch the center fronts together before putting it on the 
form, but overhand them together after the lining is on the 
form, leaving a space in the center large enough to put in 
the filling. 

These forms are very useful for pinning on trimming 
and laces, etc., to enable one to see the effect, and also in 
designing and planning a costume. 

HOUSEHOLD RECIPES. 

WASHING FLANNELS. 

As one wash is sufficient to ruin flannels, unless the 
work is done in a proper manner, particular attention 
should be given their first launder. If this is done properly 
they will not be apt to shrink so much later on. The secret 
of washing flannels is to have the changes of water of the 
same temperature and never to rub soap or anything 
directly on the garment. Keep the temperature of the 
water the same throughout the entire process, as sudden 
changes from hot to cold will shrink any woolen fabric. 
Flannels should have a clean suds prepared especially for 

368 



them and should be well shaken before being put in water 
to free them from lint and dust, and the water must be 
warm, but not boiling, as flannel shrinks when put into 
boiling water. Stir two tablespoonfuls of a good washing 
powder in a quart of lukewarm water until a strong lather 
is produced and pour this into a tubful of water of the 
same temperature before the flannels are put in. Lay the 
flannels in the suds and cleanse by lifting up and down 
and rubbing with the hands. From this water lay them 
into a second prepared exactly like the first and of even 
temperature. Rinse well in this and lay them in clear, 
warm water. Wring through the clothes wringer, pull and 
shake well and dry in warm temperature. While drying, 
shake, stretch and turn them several times and they will 
keep soft without shrinking. If possible press before per- 
fectly dry, but after they are dry a damp cloth should be 
placed between the iron and the garment. 

Blankets are washed in the same manner, though, of 
course, they are not ironed. All work of this kind must be 
done rapidly, for the chief point in washing flannels is not 
to let them lie in the water a moment longer than neces- 
sary. The fumes of a lighted match of the old-fashioned 
variety will bleach out the remnants of stains in many 
instances in flannels. 

HOW TO WASH AN INFANT'S UNDERWEAR. 

The baby's underwear should be of flannel, as soft and 
fine as the means at hand will permit, and kept in the best 
possible condition by washing it properly. If washed care- 
lessly they will shrink and be so rough that they will irri- 
tate the tender flesh almost beyond endurance. 

The following method has been used successfully for 
years and the little garments retain their soft, fleecy look 
until worn out : Use water that is as hot as you can bear 
your hand in comfortably to cleanse and purify the gar- 
ments. Dissolve a little borax in it and add enough soap 
to make a strong suds; wash the flannel through two 
waters prepared in this way — plunging up and down and 
rubbing gently between the hands. Do not rub soap on the 
flannels, as this will thicken the texture. Rinse through 
clear water of the same temperature as that used for wash- 

369 



ing, and pass them through the wringer. Pull and stretch 
each in shape before hanging out. This is quite important, 
as the tiny wool fibers interlace, causing them to become 
hard and shrunken, if neglected. After drying, spread 
them on the ironing board, cover with a damp cloth and 
iron over this, pressing down heavily. Do not have the 
iron too hot. 

Lace should never be rubbed hard, for this will break 
the delicate threads and destroy its beauty. Fill a large- 
mouthed bottle half full of water in which a little borax 
has been dissolved. Dip the lace in water and after rub- 
bing soap on it put it in the bottle and set it on the back 
of the stove or some other place where it will keep warm. 
Allow it to soak ten or twelve hours, shake the bottle up 
for a few minutes and pour the contents into a pan or 
basin. Dip the lace up and down in the water, then squeeze 
or press it out (never wring it), and rinse through two 
waters, adding a little boiled starch to the second. Place 
while it is wet, upon a clean board or marble slab, to dry, 
placing each scallop straight and smooth. The borax 
cleanses the fabric without rotting or injuring it in any 
way. 

Another way of cleaning lace is to roll it tightly 
around a glass bottle and fasten it securely. Make a suds 
of warm water and pearline and allow the lace-covered 
bottle to soak in this for several hours. Repeat the process 
in another suds, patting the lace often with the fingers. 
Rinse in several waters and then dry the lace on the bottle 
with a soft towel. 

To clean lace that is slightly soiled sprinkle some 
magnesia upon a smooth sheet of writing paper, and lay 
the lace upon the paper and springle more magnesia over 
it; cover with another sheet of paper and place a book or 
some light weight upon the paper, letting it rest for several 
days. Then take it up and brush the powder out. It will 
be nicely cleaned. 

Laces that are seldom used or worn should be rolled 
upon strips of dark blue paper to keep them firm without 
creasing them. Do not fold fine cobweb lace when putting 
it away; drop it carelessly into a satin-lined box and allow 

370 



it to remain in the position you place it; do not finger it 
or move it about. 

To remove the mildew from any white cloth stir one 
ounce of chloride of lime into a quart of cold water. After 
it has settled two or three hours pour the clear liquid off 
into a bottle and it will be ready for use. Dip the mil- 
dewed spots in the liquid and let dry. If one application 
does not remove the stain entirely repeat the process. Rinse 
in clear water. 

To cleanse grease from wool or silk, apply a fluid made 
by dissolving two ounces of white soap and one-half ounce 
of borax in a quart of warm soft water. Pour a small 
quantity into a bowl, add the same amount of water and 
sponge the goods with it. After it is clean sponge with 
clear water and hang up to dry. 

Paint may be removed by washing the spots in tur- 
pentine. If the cloth is too heavy to be washed, put two 
parts ammonia and one part turpentine in a bottle and 
shake well. Apply this until the paint is softened, and it 
can be scraped off. 

Spots of paint, grease, pitch or oil may be removed 
from silk or linen by rubbing with purified benzine applied 
with a cloth or sponge. To destroy the odor of benzine 
add a little oil of lemon. 

Fruit stains may be removed from clothing by pouring 
boiling water through them. Ink spots may be removed 
with sour milk, and afterwards rubbed with a piece of 
lemon on which some salt has been sprinkled. Remove tar 
spots by putting butter upon them, and then wash out the 
grease spot with soap and water. 

To remove ink from white linen, dip the spots imme- 
diately in pure melted tallow, then wash out and the ink 
will have disappeared. To remove iron rust from clothing 
mix a teaspoonful of oxalic acid in three tablespoonfuls of 
hot water and apply to the spots. It will bleach out the 
rust, and if washed afterward with clean water will not 
hurt the goods. 

Another method is to tie up the spots with a little 
cream of tartar, and place in cold water and let come to 
the boiling point, when the rust spots will disappear. Lem- 
on juice and salt are also good for the same purpose, To 

371 



remove iron rust from linen or cotton, wash the cloth 
through one suds and rinse. Rub ripe tomato juice on the 
spot and lay in the sunsTiine until nearly dry, then wash 
in another suds. 

TO RESTORE THE FINISH TO OLD GOODS. 

The fine glossy finish that comes on certain grades of 
new woolen goods must sometimes be restored to make an 
article look well. Thus if a stain is made on the goods the 
gloss is removed when the stain is washed out. This leaves 
a dull spot on the material, spoiling the general effect of 
the whole piece. To restore the original glossy finish the 
cloth should be laid on the table or other smooth surface 
and carefully brushed with weak gum water. Dip a clean 
tooth brush in the water and lay the gum water on care- 
fully and evenly. Then place a sheet of clean white paper 
over it, and either press it with a lukewarm iron or put a 
weight on the paper and leave it there until dry. When 
the cloth is dry the dull spot will have disappeared, and if 
the operation has been performed successfully there will 
be no break in the glossy finish apparent to the eye. 

To obtain the glossy effect on linen, it is advisable 
when washing to put a little gum arable in the starch. 
Dissolve a half teaspoonful of the gum arable in boiling 
water, and when cold add to the starch. The linen will 
then have a beautiful gloss finish when ironed. 

TO MAKE OLD CASHMERE LOOK NEW. 

Soak the goods in strong soft-soap suds two hours; 
then, having dissolved one ounce of extract of logwood in 
a bowl of warm water, add warm water to cover the goods, 
which should be taken from the suds without wringing. 
Allow the goods to stand in the logwood water over night ; 
in the morning rinse in several waters without wringing. 
To the last water add one pint of sweet milk, which will 
stiffen the goods a little; ircn while quite damp. 

Another method is to wash it in hot suds in which a 
little borax has been dissolved. Rinse in bluing water — 
very blue — and iron while damp. 

372 



TO RESTORE COLOR TO FADED RIBBONS. 

Add a little pearlash to soap lather, place the faded 
ribbons therein and their natural color will be restored. 
Silk goods may also be restored when treated in this 
manner. 

Cloth that has turned yellow from long standing may 
be whitened by soaking it in buttermilk a few days. White 
clothing that has been discolered from red calico, or streaks 
that are often found on napkins or towels, which by mis- 
take have been washed with the white goods, may also be 
removed by soaking in buttermilk. 

Two cups of salt dissolved in ten quarts of cold water 
is the proper mixture in which to dip cotton goods before 
washing them. Goods of black and white, slate color, 
brown, or their shades, may then be washed with safety, 
for the salt sets the colors. After they have been dipped 
in the solution hang them in the usual way. Calicoes and 
muslins do not require hot suds and should never be 
allowed to soak long in the water. Wash quickly, turn 
the wrong side out, dry in the shade, and always iron on 
the wrong side with a moderately hot iron. 

Very delicate cotton or colored things of any descrip- 
tion, silk, or flax embroideries and the like, should be put 
in bran water with soap jelly and not soap powder or soda, 
then rinsed in salt and water. To make the bran water, tie 
up a quart of bran in a muslin bag, boil it and let the water 
cool until it is almost tepid. Wash the articles thoroughly 
and quickly, and rinse in cold, salt water, adding a little 
vinegar if the colors need reviving. Pass through the 
wringer, hang in the shade, and iron on the wrong side 
before quite dry. Cretonne may also be washed in the 
same way. 

TO RESTORE COLOR DESTROYED BY ACID. 

' First apply ammonia to the spot to neutralize it, after 
which an application of chloroform will, in almost all 
cases, restore the original color. 

CLEANING VELVETS. 

Lay the velvet on a table or some other smooth surface 
and apply naptha with a tooth brush to the spots only, 
brushing it well into the pile and against the nap. 

373 



To remove creases in velvets, hold the creased part 
over a pan of steaming M^ater, or spread a damp cloth 
over a hot iron and pass the velvet slowly over this, brush- 
ing it with a soft brush against the pile. Repeat the 
process until the crease disappears and until the pile 
stands up. ' 

Faded plush may be brightened by brushing it very 
lightly with a sponge dipped in chloroform. 

Mud stains on a black dress may be removed by rub- 
bing them with the cut surface of a raw potato. 

CLEANING KID GLOVES. 

Kid gloves may be nicely cleaned if you will take the 
pains and have patience until you learn the system thor- 
oughly. The material to use is gasoline or purified benzine, 
which is not quite so odorous. Both are highly inflamma- 
ble, however, and the vapor arising from them is explosive 
if in reach of fire, so this work should never be done at 
night, nor in a room where there is a lamp or fire in the 
daytime. It is safer to do this process out in the open 
air. Use a bowl and pour into it enough of the liquid 
to cover the gloves, wetting them thoroughly. Then smooth 
one of them out on a clean board and with a soft brush, 
sponge or cotton cloth, rub them carefully, one way only, 
from the wrist to the finger tips. If the first bowl of ben- 
zine becomes soiled before the gloves are thoroughly 
cleaned, throw it out and start with some fresh. 

When you finish, rinse and squeeze out in the clean 
benzine until they are as dry as possible, after which put 
them in the sun to continue drying. Have a clean, smooth 
stick about a foot long and rounded and tapered like a 
finger, and over this draw each finger of the gloves in 
turn, holding it smooth there while you rub it dry with 
fine soft muslin. When all this is done, polish with white 
French powder and a soft flannel, keeping the glove fingers 
tight on the stick all the time. Put the gloves on every 
night while during the drying process, so they will not 
shrink too small, and when all is done you will be de- 
lighted with the results of your work. 

374 



CLEANING LACES. 

Cream-colored Spanish lace can be cleaned and made 
to look like new by rubbing it in dry flour; rub as if you 
were washing- in water. Then take it outdoors and shake 
all the flour out; if not perfectly clean, repeat the rubbing 
in a little more clean flour. The flour must be very thor- 
oughly shaken from the lace, or the result will not be 
satisfactory. 

TO WASH COLORED COTTONS. 

Boil two quarts of bran in water for half an hour, let 
it cool, then strain it, and mix the liquid with the water 
in which the things are to be washed. They will only 
require rinsing, as the bran stiffens them sufficiently. For 
colored muslins, rice water is very good, as it helps to 
preserve the color; but, although it makes white muslins 
clear, it sometimes gives them a yellow tinge. When used, 
it should be previously boiled in the proportion of one 
pound of rice to one gallon of water. No soap is required. 

WHITENING YELLOW FLANNELS. 

Flannel that has become yellow from being badly 
washed can be whitened by soaking it for two or three 
hours in a lather made of one-quarter of a pound of curd 
soap, two tablespoonfuls powdered borax, and two table- 
spoonfuls of carbonate of ammonia, dissolved in five or 
six gallons of water. Boil the soap in small shavings in 
water until it dissolves, then add to it the other ingredi- 
ents. Let the flannel lie in it until it looks whiter, then 
squeeze and press it, and rinse in bluing water, and hang 
in the hot sun to dry. Iron while still damp. 

TO TAKE MILDEW FROM CLOTHES. 

Mix soft soap with powdered starch, half as much salt, 
and the juice of a lemon; lay it on the part with a brush; 
let it lay on the grass day and night, till the stain comes 
out. Iron moulds may be removed by the salt of lemons. 
Many stains may be removed by dipping the linen in sour 
buttermilk, and then drying it in a very hot sun; wash it 
in cold water; repeat this three or four times. Stains, 
caused by acids, may be removed by tying some pearlash 

375 



up in the stained part; scrape some soap in cold soft water, 
and boil the linen until the stain is gone. 

SCORCHED LINEN. 

Peel and slice two onions, extract the juice by pound- 
ing and squeezing; add to the juice half an ounce of fine 
white soap, two ounces of fullers earth, and half pint of 
vinegar; boil all together. When cool, spread it over the 
scorched linen and let it dry on ; then wash avid boil out the 
linen, and the spots will disappear, unless burned so badly 
as to break the thread. 

TO WHITEN LINEN. 

Stains occasioned by fruit, iron rust, and other similar 
causes, may be removed by applying to the parts injured 
a weak solution of chloride of lime — the cloth having 
been well washed — or of soda, oxalic or salts of lemon in 
warm water. The parts subjected to this operation should 
be subsequently well rinsed in soft clear warm water, 
without soap and be immediately dried in the sun. 

WASHING MERINOS AND SILKS. 

The following directions for washing merinos, lambs' 
wool and silk underclothing may be useful : Use one pound 
of dissolved soap in four gallons of warm water, in which 
well rinse the articles to be washed, drawing them re- 
peatedly through the hand ; wring them as dry as possible 
to remove the soap ; rinse them again briskly in clean, luke- 
warm water ; wring and stretch them to their proper shape, 
and dry in open air if possible. 

TO REMOVE RUST FROM LINEN. 

Dissolve an ounce of oxalic acid in a pint of water, 
apply liberally to the spots of iron rust, then expose them 
to the sun's rays for half a day. The same will remove ink 
stains, but in either case it must have the first chance — 
that is, before soap suds or any other applications. Label 
the bottle "poison." 

Another way of removing iron rust is by tying a little 
cream of tartar in the stained spot before putting the 

376 



cloth to boil. If this does not succeed, thicken lemon juice 
with equal parts of salt and starch, add some soft soap, 
apply the mixture to the cloth, and lay it in the hot sun. 
Renew the application several times. 

TO WASH A CAMBRIC HANDKERCHIEF. 

To wash a fine cambric handkerchief, embroidered in 
colored silks, so that the colors do not run, the secret is to 
wash in soap lather very quickly, wring thoroughly and 
then iron so that it dries at once. There should be no soak- 
ing, and the embroidered corner should be kept out of the 
water as much as possible. A little alum in the water 
will make the process more sure. 

TO WHITEN YELLOW LINEN. 

Linen garments which have become yellow from time, 
may be whitened by being boiled in a lather made of milk 
and pure white soap, a pound of the latter to a gallon of 
the former. After the boiling process the linen should 
be twice rinsed and a little bluing added to the last water 
used. 

TO PREVENT CALICO FROM FADING. 

To render the colors of cotton fabric permanent, dis- 
solve three gills of salt in four quarts of water; put the 
calico in while hot and leave it till cold ; it will not fade by 
any subsequent washing. 

TO CLEAN BLACK CASHMERE. 

To clean black cashmere, wash in hot suds in which a 
little borax has been placed. Rinse in bluing water — very 
blue — and iron while damp. If carefully done, the material 
will look equal to new. 

FOR REMOVAL OF STAINS AND SPOTS. 

The following methods of removing spots and stains 
from clothing are given on the authority of high chemical 
and textile authorities. They are believed to be trust- 
worthy : 

Grease — White goods, wash with soap or alkaline lyes. 
Colored cottons, wash with lukewarm soap lyes. Colored 

377 



woolens, the same or ammonia. Silks, absorb the grease 
with French chalk or fuller's earth, and dissolve away with 
benzine or ether. 

Oil Colors, Varnish, and Resins — On white or colored 
linens, cottons or woolens, use rectified oil or turpentine, 
alcohol, lye and soap. On silks, use benzine, ether and mild 
soap, very cautiously. 

Stearine — In all cases, use strong, pure alcohol. 

Vegetable Colors, Fndt, Red Wine and Red Ink — On 
white goods, sulphur fumes or chloride water. Colored cot- 
tons and woolens; wash with lukewarm soap-lye or am- 
monia. Silk, same but more cautiously. 

Alixarine Inks — White goods, tartaric acid; the more 
concentrated the older the spots are. On colored silks, 
diluted tartaric acid should be applied cautiously. 

Blood and Albuminoid Matters — Steeping in lukewarm 
water. If pepsin or the juice of carica papaya can be pro- 
cured, the spots are first softened with lukewarm water, 
and then either of these substances is applied. 

Iron Spots and Black Ink — White goods, hot oxalic 
acid, dilute muriatic acid, with little fragment of tin. On 
fast dyed cottons and woolens, citric acid cautiously and 
repeatedly applied. 

Lime and Alkalies — White goods, simple washing. Col- 
ored cottons, woolens and silks are moistened, and very 
dilute citric acid is applied with the finger end. 

Acid, Vinegar, Sour Wine, Must, Sour Fi'uits — White 
goods , simple washing, followed up by chloride water if a 
fruit color accompanies the acid. Colored cottons, woolens, 
and silks are very carefully moistened with dilute ammonia, 
with the finger end. (In case of delicate colors, it will be 
found preferable to make some prepared chalk into a thin 
paste with water, and apply into the spots.) 

Tannin from Chestnuts, Green Walnuts, etc., or 
Leather — White goods, hot chlorine water and concentrated 
tartaric acid. Colored cottons, woolens, and silks, apply 
dilute chlorine water cautiously to the spot, washing it 
away and reapplying it several times. 

378 



Tar, Cart Wheel Grease, Mixtures of Fat, Resin, Car- 
bon and Acetic Acid — On white goods, soap and oil turpen- 
tine, alternating with streams of water. Colored cottons 
and woolens, rub in with lard, let lie, soap, let lie again 
and treat, alternating with oil of turpentine and water. 
Silks the same, more carefully, using benzine instead of 
oil and turpentine. 

TO WASH AND CURL FEATHERS. 

Wash in warm soap suds and rinse in water a very 
little blued, if the feather is whiten, then let the wind dry 
it. When the curl has come out by washing the feather 
or getting it damp, place a hot flat iron so that you can 
hold the feather just above it while curling. Take a bone 
or silver knife and draw the fibers of the feather between 
the thumb and the dull edge of the knife, taking not more 
than three fibers at a time, beginning at the point of the 
feather and curling one-half the other way. The hot iron 
makes the curl more durable. After a little practice, one 
can make them look as well as new. When swan's down 
becomes soiled, it can be washed and look as well as new. 
Tack strips on a piece of muslin and wash in warm water 
with white soap, then rinst and hang in the wind to dry. 
Rip from the muslin and rul- carefully between the fingers 
to soften the leather. 

TO CLEAiJ FURS. 

For dark furs, warm a quantity of new bran in a pan, 
taking care that it does not burn,, to prevent which it must 
be briskly stirred. When well warmed, rub it thoroughly 
into the fur with the hand. Repeat this two or three 
times, then shake the fur, and give it another sharp brush- 
ing until free from dust. For white furs, lay them on a 
table, and rub well with bran made moist with warm 
water; rub until quite dry, and afterwards with dry bran. 
The wet bran should be put on with the flannel, then dry 
with book muslin. IJght furs, in addition to the above, 
should be rubbed with magnesiia or a piece of book muslin, 
after the bran process, againwt the way of the fur. Solid 
white fur can be nicely cleaned by rubbing it thoroughly 
in white flour. It should then be hung outdoors for about 

379 



thirty minutes. Repeat the process several times, and the 
fur will be equal to new. 

TO DETERMINE THE QUALITY OF SILK. 

The following directions for detecting the spurious 
from the genuine article in black silk will be found useful : 
Take ten fibers of the filling in any silk, and if on breaking 
it they show a feathery, dry, and lack-luster condition, dis- 
coloring the fingers in handling, you may at once be sure of 
the presence of dye and artificial weighting. Or take a 
small portion of the fibers between the thumb and fore- 
finger and very gently roll them over and over and you will 
soon detect the gum mineral, soap and other ingredients of 
the one and the absence of them in the other. A simple 
but effective test of purity is to burn a small quantity of 
th fibers; pure silk will instantly crisp, leaving only a 
pure charcoal; heavily dyed silk will smolder, leaving a 
yellow, greasy ash. If on the contrary you cannot break 
the ten strands, and they are of a natural luster and bril- 
liancy, and fail to discolor the fingers at the point of con- 
tact, you may be well assured that you have pure silk, that 
is honest in its make and durable in its wear. 

CLEANING BLACK SILK. 

One of the things "not generally known," at least in 
this country, is the Parisian method of cleaning black silk ; 
the modus operandi is very simple, and the result infinitely 
superior to that achieved in any other manner. The silk 
must be thoroughly brushed and wiped with a cloth, then 
laid flat on a board or table, and well sponged with hot 
coffee, thoroughly freed from sediment by being strained 
through muslin. The silk is sponged on the side intended 
to show; it is allowed to become partially dry, and then 
ironed on the wrong side. The coffee removes every par- 
ticle of grease, and restores the brilliancy of silk without 
imparting it to either the shiny appearance or crackly and 
papery stiffness obtained by beer, or, indeed, any other 
liquid. The silk really appears thickened by the process, 
and this good effect is permanent. Our readers who will 
experimentalize on an apron or cravat will never again try 
any other method. 

380 



TO CLEAN GLOVES. 

The following is recommended as the best mode of 
cleaning gloves: Mix one-fourth ounce carbonate of am- 
monia, one-fourth ounce fluid chloroform, one-fourth ounce 
sulphuric ether, one quart distilled benzine. Pour out a 
small quantity in a saucer, put on the gloves, and wash as 
if washing the hands, changing the solution until the 
gloves are clean; take off, squeeze them, replace on hands, 
and with a clean cloth rub fingers, etc., until they are per- 
fectly dry and fitted to the hands. This cleaner is also 
an excellent clothes, ribbon and silk cleaner; is perfectly 
harmless to the most delicate tints. Apply with a soft 
sponge, rubbing gently until spots disappear; care must be 
taken not to use it near the fire, as the benzine is very 
inflammable. 

TO CLEAN PLUSH. 

That plush can be cleaned is a fact of interest; chil- 
dren's plush coats that have become soiled on the front can 
be softly and delicately sponged with a little borax and 
water without injury; a teaspoonful of powdered borax to 
nearly a quart of water is the proper proportion; use a 
very soft sponge — and by the way, a sponge may be soft- 
ened by boiling it in clear water; then take it out and 
rinse it in several waters; if not softened sufficiently, 
repeat the boiling and rinsing process. 

TO RENOVATE BLACK CLOTH. 

Clean the cloth from grease and dirt with the follow- 
ing mixture, thoroughly dissolved : Aqua ammonia, two 
ounces; soft water, one quart; saltpeter, one teaspoonful; 
shaving soap in shavings, one ounce. Then when dry, 
make a strong decoction of logwood by boiling the extract 
in a gallon of soft water; strain and when cool add two 
ounces of gum arable; apply evenly with a sponge over 
the surface and hang in the shade. When thoroughly dry, 
brush the nap down smooth and it will look as well as 
new. Keep the liquid tightly corked in a bottle. 

TO CLEAN OSTRICH FEATHERS. 

White or light tinted ones can be laid on a plate and 
scrubbed gently with a tooth brush in warm soap suds, 

381 



then well shaken out and well dried either by the hot sun 
or a good fire. At first the feather will have a most dis- 
couraging appearance, and a novice is apt to think it per- 
fectly spoiled. But after it is perfectly dry it should be 
carefully curled with a penknife or scissors' blade, and it 
• will recover all its former plumy softness. 

TO RESTORE THE PILE OF VELVET. 

Stretch the velvet out tightly, and remove all dust 
from the surface with a clean brush; afterwards, well clean 
it with a piece of black flannel, slightly moistened with 
Florence oil. Then lay a wet cloth over a hot iron and 
place it under the velvet, allowing the steam to pass 
through it, at the same time brushing the pile of the velvet 
till restored as required. Should any fluff remain on the 
surface of the velvet, remove it by brushing with a handful 
of crepe. 

TO REMOVE GREASE. 

Aqua ammonia, two ounces; soft water, one quart; 
saltpeter, one teaspoonf ul ; shaving soap in shavings, one 
ounce ; mix together ; dissolve the soap well, and any grease 
or dirt that cannot be removed with this preparation, 
nothing else need be tried for it. 

TO RESTORE COLOR. 

When color on a fabric has been accidentally or other- 
wise destroyed by acid, ammonia is applied to neutralize 
the same, after which an application of chloroform will, 
in almost all cases, restore the original color. The appli- 
cation of ammonia is common, but that of chloroform is 
but little known. 

TO REMOVE STAINS FROM BROADCLOTH. 

Take one ounce of pipe-clay that has been ground fine, 
and mix it with twelve drops of alcohol, and the same 
quantity of spirits of turpentine. Moisten a little of this 
mixture with alcohol, and rub it on the spots. Let it re- 
main till dry, then rub off with a woolen cloth and the 
spots will disappear. 

382 



TO DYE FURS. 

Any dye that will color wool will color furs. In buy- 
ing- furs, examine the density and length of the down next 
the skin ; this can easily be done by blowing briskly against 
the set of the fur; if it is very close and dense, it is all 
right, but if it opens easy and exposes much of the skin, 
reject it. 

TO SET COLORS. 

Salt or beef's gall in the water helps to set black. A 
teaspoonful of spirits of turpentine to a gallon of water 
sets most blues, and alum is very efficacious in setting 
green. Black or very dark calicoes should be stiffened with 
gum arable — five cents' worth is enough for a dress. If, 
however, starch is used, the garment should be turned 
wrong side out. 

TO CLEAN RIBBONS. 

Take one tablespoonful of brandy and one of soft 
soap and one of molasses. Mix thoroughly together; place 
the ribbon upon a smooth board, and apply the mixture 
with a soft brush, after which, rinse in cold water and roll 
up in a cloth until nearly dry. Iron with a fiat iron not 
too hot. 

Rub together fine French chalk and lavender to the 
consistence of a thin paste, and apply thoroughly to the 
spots with the finger; place a sheet of brown or blotting 
paper above and below the silk, and smooth it with a mod- 
erately heated iron. The French chalk may be then re- 
moved by brushing. 

TO FRESHEN BLACK LACE. 

Lay it on a clean table, sponge it all over with a weak 
solution of borax, about an even teaspoonful, or less, to a 
pint of warm water. Use a piece of old black silk, or black 
kid glove is better, to sponge with. While damp, cover 
with a piece of black silk or cloth, and iron. 

CARE OF VELVET. 

How to brush velvet is a thing, easy as it seems, not 
known to everybody. The whole secret lies in the manage- 
ment of the brush. Take a hat brush that is not too soft, 

383 



but has the bristles elastic, and that will return at once to 
their original state after being pressed aside. Hold this 
firmly under the palm of the hand, in the direction of the 
arm, and with the bristles downward, and pressing them 
first gently into the substance of the velvet, then twist 
around the arm, hand, and brush altogether as on an axis, 
without moving them forward or backward. The foreign 
matters will be drawn up and flirted out of the flock with- 
out injury to the substance of the velvet; and the brush 
must be lifted up and placed in a similar manner over every 
part required to be brushed. By this means velvet will be 
improved instead of deteriorated, and will last for years. 

TO REMOVE COFFEE OR MILK STAINS. 

The use of glycerine is recommended for this pur- 
pose. The silk, woolen, or other fabric is painted over 
with glycerine, then washed with a clean linen rag dipped 
in lukewarm rainwater, until clean. It is afterwards 
pressed on the wrong side with a moderately warm iron 
as long as it seems damp. The most delicate colors are 
unaffected by this treatment. 

VOLATILE SOAP, FOR REMOVING PAINT, ETC. 

Four tablespoonfuls of spirits of hartshorn, four 
tablespoonfuls of alcohol, and a tablespoonful of salt. 
Shake well in a bottle and apply with a sponge or brush. 

TO CLEAN ARTICLES MADE OF WHITE ZEPHYR. 

Pour in flour of magnesia, changing often, shake off 
the flour and. hang in the open air for a short time. 



384 



CHAPTER XXII. 



Helpful Hints; Methods of Increasing Trade; How to Advertise Your 
Services, sample advertisements. 



HELPFUL HINTS. 

Manufacturers nowadays seem to pay especial heed 
to the needs of the home dressmaker, and there have re- 
cently been put on the market little items that make the 
task of cutting- and sewing much easier. 

Several widths of bias folds are put up in pieces of 
one dozen yards each, in nainsook, India linon, lawn and 
cambric. The piece runs from ten cents a dozen yards 
for the narrowest in lawn. These are all folded on each 
edge so that all the user has to do is to apply the fold 
with machine stitching. For underwear, sleeve bindings, 
seam coverings, cuff and collar finishings and for trim- 
ming little girl's frocks and pinafores, the home sewer 
will find countless uses for these convenient fabrics. They 
are also offered in taffeta, China silk and satin, and in 
several widths and colorings. 



If when stitching a tuck or seam, one will simply 
turn the garment and stitch back a short distance, it will 
save much time, as tying threads will not then be nec- 
essary. 



To protect the work table when cutting out garments, 
it is often necessary to mark the seams or other lines 
with a tracing-wheel. In order to protect your work 
table, or lap-board, slip a small board — your dry goods 

385 



dealer will give you one from which a piece of dress 
goods has been unwound — beneath the material to be 
marked. 

A board of this kind is also useful when cutting and 
basting, and one covered with several layers of soft cloth 
makes a very convenient ironing board for collars, cuffs, 
etc. 



It is quite difficult to sponge and treat silk in a man- 
ner which will entirely obliterate the marks of stitching. 
In fact, whether you can do so or not depends entirely 
upon the special kind of silk and whether the stitching 
has been done for a considerable length of time. Some 
of the softer kinds can be sponged and pressed without 
injury, and the pressing will often remove the objection- 
able marking, but again there are others for which such 
treatment would be unsuccessful. If the silk is black, 
sponge it with a solution of soap, tree bark and water 
or with rather strong tea, then press it, if you think the 
iron will not injure the silk; but if it is the kind to be 
spoiled by the iron, wind it very tightly and strongly 
round and round the handle of a broom, which you have 
previously covered with white muslin, and let it stand 
until perfectly dry. This is a very old method of treat- 
ment, but one which is often successful in renewing the 
silk when the use of an iron is not possible. If your silk 
is colored you can only determine what to sponge it with 
by experimenting with a small piece. Some silk can be 
sponged with pure water, some is much improved by 
sponging with alcohol, and experiment is the best means 
by which you can discover which is best adapted to the 
special sort. 



To color lace to match a gown is rather a nice piece 
of work, but can be done successfully by the use of home 
dyes, if care and pains are taken. The dye must be of 
the exact shade and this can only be obtained by follow- 
ing directions and testing with samples of lace until the 
desired shade is obtained. To color lace a yellow tinge, 
boil in coffee, strained and diluted to the right tint. Let 
the lace remain in the coffee for half an hour. Tea used 

386 



in the same way gives a pinkish shade; strong- black pep- 
per, steeped in water, gives a dark tan color. 

Also, by using tube paints and gasoline. Mix white 
with colors and test sample until the desired shade is 
obtained. Use plenty of gasoline and a very small amount 
of paint. 



To tell the right side of goods in making up dresses 
of wool serge, it is well to remember that in serge weaves 
twill always runs to the right on the right side of the 
goods. 



When ripping a long seam, put one end of the goods 
under the presser-foot of the sewing machine, hold the 
other side firmly with the hand and with a sharp knife 
the threads can be cut quite easily. 



When making buttonholes in thick cloth, baste the 
cloth smoothly where each buttonhole is to be made, then 
put two rows of machine-stitching the length desired for 
the buttonholes, cut between the rows and then work. 



Many times when one is sewing, their shears become 
dull, and it is oftentimes quite impossible to take them to 
a shear sharpener at once. One may get the desired re- 
sults by taking a smooth-necked glass bottle and cutting 
the neck as if cutting cloth. Shears are sharpened fairly 
well this way. 



To darn a tear invisibly in silk or wool, use a fine 
needle and a human hair. In darning a shirt waist or 
other garment where it is important that the place should 
be noticed as little as possible, the work should be done 
without putting a piece under the hole. If the darning 
is well done, the spot will be as strong as the fabric around 
it and when starched and ironed will be scarcely notice- 
able. The edges of the material must, of course, be 
drawn together in their original position and the direc- 
tion of the thread follows as closely as possible the lines 
of the warp and woof. Sometimes it is advisable to use 

387 



a thread unraveled from the goods to darn the rent. 
Sometimes when silk is used, it is advisable to split it in 
order to have a flat thread instead of a round one. 



To attach large buttons on shirt waists and tub 
gowns, when desired, a quick and easy way to attach 
them so they may be removed for laundering, is to use 
buttons with a shank, and fasten in place with small 
safety-pins on the wrong side. The spaces should be 
measured and marked with a few stitches where the but- 
tons should be, so they may be quickly attached after 
each trip to the laundry. In this way one set of buttons 
will do duty for a number of suits. 



To Keep Goods From Fraying — Keep a piece of undis- 
solved glue with your sewing things. When making but- 
tonholes on wiry goods, mark them with a thread. Moisten 
one edge of the glue. Rub over the place for button- 
holes on both sides before cutting, and when dry the glue 
will hold goods firm so they will not fray while working. 
To Gather Goods Without a Ruffler — If the stitch 
of the machine is lengthened and a loose tension used, a 
row of stitching can be run where the gathering is de- 
sired and then the thread may be pulled up until the 
goods has the desired fullness. The result is nice even 
gathers. This is especially fine in shirring or where two 
gathering threads close together are needed, as in the 
top of some sleeves. 



Amount of material required for making a suit will 
depend upon the width of goods and the style followed ; 
however, the table given below may be of some help : 

Broadcloth or any goods fifty inches wide will re- 
quire from six to ten yards, according to length of coat 
and amount of fullness in the skirt. 

For goods under fifty inches and over forty-two inches 
would require for a medium length coat and reasonably 
full skirt, eight yards. 

All silks and satins of ordinary width (say twenty- 
one inches) will require from twelve to sixteen yards, 
and the wider goods in proportion. 

388 



To prevent buttons from tearing out, sew a small 
one to the back of a large one. Place a pin between, 
while sewing. This causes the thread to be loose, and thus 
makes it button easier. 



Take good care of your sewing machine. See that it 
is kept well cleaned and oiled. Use the right size needles 
for the work in hand and have them straight and sharp. 
It is a good idea to keep a small piece of emery stone in 
the machine drawer upon which to sharpen needles that 
have become slightly blunt. 



When sewing, and it is possible, keep most of the 
sewing to the left of the needle, for it is hard to stitch 
accurately when forcing too much goods under the arm 
of the machine. 



When stitching a bias and straight edge together, let 
the bias come next to the feed. In very thin goods, to 
protect it from the feed, it is well to lay a piece of paper 
next to the feed, stitching it in with the seam and then 
tearing it out after the stiching is done. 



When pongee silk is spotted from water, let it dry 
thoroughly, then take two thicknesses of heavy cloth, lay- 
ing both over the spot to be removed, dampening the 
upper one slightly, press carefully, thus steaming the 
goods, and the apparent grease spot will disappear. 



Strive to excel. This means study and close appli- 
cation. Keep up with the times. Always try to have 
some late novelty that your competitors haven't. Have 
confidence in your ability, but be sure that it is sustained 
by your knowledge and not mere conceit. Never work 
nights and you will accomplish more in the end and have 
better health. Never allow customers to set the price on 
your work — that is your business. 



The best way to keep one's waists and skirts in place 
at the waist line is by sewing hooks and eyes on them, or 
by the use of buttons and buttonholes. Corresponding 

389 



hooks, buttonholes or eyes are sewed to the inside of the 
skirt belt and to the outside of the waist at the belt line. 
Care should be taken to sew them in the same position on 
all waists and skirts, so that any waist may be worn with 
any skirt. For a boned waist worn over a skirt, the hooks 
should be sewed to the inside of the waist and the eyes 
on the outside of the skirt belt. 



Never try a garment on until you have run a strong- 
thread around the neck and armhole to prevent stretching. 



Clip all selvage seams to prevent drawing on the out- 
side, or a better way is to cut away the selvage entirely. 



In basting silks and velvets, always use sewing silk. 
Cotton basting is apt to cut the material and will leave 
marks after they are taken out. Great care should be 
used in removing bastings from silks or the material will 
split — they should be clipped every two or three stitches. 
In fact, it is never a good plan to pull long bastings from 
any kind of material. 



In making thin summer dresses, hang the skirts on 
waistbands one and a quarter inch deep; leave seams of 
each skirt open one and a quarter inch at top, and set that 
amount into the band. In case of shrinkage one has only 
to take off the band to let down the skirt. 



While doing the spring house cleaning, slip on a pair 
of bloomers, made from four widths of heavy, dark skirt- 
ing, making a divided skirt. Gather in a band to button 
about the ankles and waist. These bloomers are valuable 
protectors for the skirts and facilitate climbing step- 
ladders, scrubbing floors, etc. 



METHODS OF INCREASING TRADE. 

Don't be afraid to ask for patronage. Every adver- 
tisement you see in the papers and magazines is simply 
a request for business. By letting people know what you 

390 



have to offer, you will be following the best rule for get- 
ting trade that has ever been discovered. 

When you open a dressmaking shop of your own, give 
the paper a small advertisement as frequently as the re- 
turns will justify the expenditure, remembering that ad- 
vertising is like a garden — you must first plant the seed, 
then cultivate the plant, and finally reap your harvest of 
success. It is no disgrace to advertise — ^to bid for busi- 
ness. The fact is, everybody advertises, in one way or 
another, the wares or service he has to sell. Even the 
preacher has sermons and his service to sell — over the 
pulpit — and so, by one means or another, solicits your 
attendance. The same is true of every profession and 
avenue of life. The dressmaker has a technical and 
trained service to sell, so if she would succeed she must 
let it be known. The business woman who hides her 
light under a bushel these days won't have a light to 
hide very long. We have come to agree with the commer- 
cial poet in that — 

"One step won't take you very far — 
You've got to keep on walking; 

One word won't tell folks who you are — 
You've got to keep on talking; 

One inch won't make you very tall — 
You've got to keep on growing; 

One little ad. won't do it all — 

You've got to keep them going." 

You must advertise for customers and, when advertis- 
ing secures them for you, you must please them and hold 
their trade and win their friendship, so that they will 
come back to you again and again. It often takes time 
for advertising to have its full effect. Some people will 
not even remember your name until they have met you 
several times — so it is in advertising. The first small 
advertisement has but little effect upon the public, but 
its appearance week after week will gradually bring re- 
sults. Of course, your advertising must be to the point 
an state clearly just what services you are prepared to 
render. A good advertisement must attract attention, 
create desire, and convince the reader that you are the 

391 



person she is looking for. If you make a specialty of 
children's clothes or boys' suits, or house dresses, or even- 
ing gowns or street suits, or anything that is likely to be 
in demand at the you advertise, be sure to mention it. 

Keep the names and addresses of your customers and 
from time to time write them a little note, saying that 
about such and such a time you will have a few days 
to spare, and will be glad to serve them if they have any 
sewing which needs attention. Or better still, call on 
them if your time will permit. Ask your customers if they 
know of anyone who is thinking of having some sewing 
done, and try to get your patrons to speak a good word 
for you to their friends. Kemember, a living advertise- 
ment — a pleased customer — is the best kind of advertising 
in the world. In fact, try in every dignified way to in- 
crease the circle of your acquaintance, so that you will 
have a great number of people from whom to draw your 
trade. 

I know of an instance where a dressmaker had only 
four customers, yet they occupied her whole time, and, 
being women of wealth, paid her a good income. In the 
long run, however, it is better to have a great number of 
customers, so that if any move away or fall ill, it will not 
make great inroads on your earnings. 



HOW TO ADVERTISE YOUR SERVICES. 

First of all make an analysis of your ability and see 
exactly what you have to offer the public. If you are 
opening a shop of your own, you should advertise your 
location and state whether you are prepared to turn out 
work quickly, what work you make a specialty of, whether 
you have the requisite sewing appliances, whether you 
are well qualified for that particular branch of dressmak- 
ing, what educational or professional equipment you have 
had, etc. 

If you intend to go out by the day to sew, you should 
use the "want" columns of the local papers, and tell ex- 
actly what you want. Be specific, do not make general 
statements. 

I know of several instances where women wanted 
sewing brought to them, and yet who advertised in such 

392 



a general way that they received replies from women who 
wanted a seamstress to go to their homes. The adver- 
tisements, under those circumstances, were practically 
thrown away, because they did not bring the dressmaker 
the kind of sewing that she wanted, and in the way she 
wanted it. In your advertising be sure to say that you 
will be glad to submit samples of work that you have 
done. Nothing is so convincing as such evidence of your 
ability. 

I would caution recent graduates against attempting 
more than their experience might warrant. If you accept 
a position that is too difficult, you are likely to lose con- 
fidence in your own dressmaking ability. 

The following sample want ads should be used only 
as a suggestion and should not be copied too closely. Make 
your advertisement fit your own case. It will bring bet- 
ter returns. 

DRESSMAKER OF EXPERl- 

ence desires to sew by the day at 
your home. Fast, capable worker. 
General experience. Boy's Buster 
Brown Suits a specialty. Phone — . 

YOUNG WOMAN HAVING 
completed course in dressmaking, 
is in position to accept work from 
a limited number of customers. 
Dainty house dresses my specialty, 
118 Elm St. 

MRS. JONES' DRESSMAKING 
Parlors, 1000 Main St. Ten years' 
experience. Fashionable dressmak- 
ing and ladies' tailoring. Reason- 
able prices. Intelligent and prompt 
service. 

MRS. A. M. ALLEN WILL RE- 

ceive sewing in her home, work 
called for and delivered; fancy 
shirt waists a specialty. 316 S. 
Main St. 

393 



GRADUATE DRESSMAKER OF 

five years practical and successful 
experience desires position as head 
of Dressmaking Department in good 
Department Store. Address 91, Star. 



GLOSSARY. 

Accordion Plaiting — Single plaits to stand back and 
forward (as the bellows of an accordian). Is done by 
a machine only. 

Albatross — A soft, fine wool material. 

Albert Cloth — Named for England's prince, is a re- 
versible all wool material, each side of different colors, 
and so finished that no lining is required. 

Antique — Generally used ta designate styles of for- 
mer centuries. 

Applique — To apply one material to another, as lace 
ornaments are sewed on silk, etc. ; also used to designate 
a certain embroidery and lace. 

Api^on — A draped or flat skirt front. 

Armiire — A fancy weave, having a bird's eye, dia- 
monds and seeded effects. 

Astrakhan — A woolen or silk material with a long 
and closely curled pile in imitation of the fur of the As- 
trakhan goat. 

Baby, or Persian Lamb — Fur skin of the still-born 
lamb. 

Basque — A tight-fitting waist extending below the 
waistline in different shapes. 

Batiste — The French word for lawn, fine white cot- 
ton or linen fabrics, sometimes printed. 

Batting or Padding — Cotton or wool prepared in sheets 
for quilting or interlining. 

Beaver — Similar to Kersey, but with a long nap; soft, 
thick nap inside. 

Bedford Cord — A closely woven woolen or cotton cloth 
having a raised corded surface similar to pique; used for 
women's wear. 

394 



Bengaline — A material with a heavy filled cord, cov- 
ered with silk or wool. 

Bertha — Any kind of a trimming, such as a ruffle or 
shaped revere following the outine of a low-necked or yoke 
waist. 

Bias — The diagonal edge of material. 

Bishop Form — A Shape, like sleeves, either plain or 
gathered at the top, the fullness of the lower part being 
attached to a band over which the fullness drops to form 
a puff. 

Blouse — A loose, round waist; that is, a full waist to 
drop over the belt. 

Bodice — A close-fitting waist. 

Bolero (bo-leer-o) — A small, round, sleevless jacket 
not extending below the waist line. 

Blind-Stitch^An invisible stitch. 

Border — A trimming put on -at or near the edge. 

Boiicle — Tiny locks of hair scattered over the surface 
of a woolen material. 

Bouillounee — A puffing. 

Bourette — Rough threads or knots in straight or un- 
even stripes. 

Bretelle — A revere band, etc., extending from the shoul- 
der to the waistline, front and back; often known as sus- 
pender trimming. 

Brilliantine — A coarsely woven mohair with a glossy 
surface. 

Brocade, or Broche — An embroidered effect obtained 
by weaving. 

Broadcloth — A fine woolen cloth with a glossy surface. 
It takes its name from its width. 

Buckram — A coarse, plain woven, linen or cotton ma- 
terial used for stiffening. 

Buckskin — A soft doeskin with a more defined twill. 

Cambric — Fine white linen, also made in cotton 
imitation. 

Camel's Hair — A soft, silky fabric, usually woven like 
cheviot, of hair of the camel or goat. 

395 



Canvas — A closely woven linen or cotton material used 
for stiffening- in coats, etc. 

Canton Flannel — A stout> twilled cotton cloth with a 
nap on one or both sides, used for clothing or decorative 
purposes. 

Cashmere — A soft woolen material with a fine diag- 
onal rib on the right side. 

Cascade — Material cut slant and plaited over each 
other to form shells. 

Challis — A fine twilled woolen fabric. 

Chambray — Is woven like zepher, except that it is 
stronger and thicker. 

Chenille (she-neel) — A soft, tufted, hairy-like cord, 
of silk or worsted. 

Cheviot (sha-7'i-oi) — A woolen material with a diag- 
onal cord. 

Chiffon — A very soft, flimsy, thin, silk material. 

Collarette — A collar covering the shoulders, which may 
be cut in various shapes. 

Corded Silk — Is similar to gross grain, except that 
the cord is rounder and varies in thickness from a very 
fine to a very coarse thread. 

Corduroy — A heavy ribbed velveteen. 

Cloth — Is a fabric woven of cotton, wool, linen or 
silk. 

Cravenette — Is a name applied to the finish which can 
be put on any all-wool fabric. It is a process of dyeing or 
finishing which renders the cloth proof against moisture. 
It is made water-proof without closing the pores of the 
cloth, thus rendering it cooler and more comfortable for 
the wearer than a gossamer, 

Cravette — A bow, or the like, worn at the neck. 

Crcpon — Is a fabric woven in cotton, in imitation of 
the wool and silk crepons. 

Crushed or Draped Belt — A bias piece of material 
laid in folds. 

Decollette (day-col-tay) — Low-necked. 

396 



Denim — A heavy cotton material with a smooth finish. 
Used principally for men's overclothes. 

Dimity — Is a thin material corded with a fine cord, 
either lengthwise or in checks. It comes in white and 
colors, and is commonly used for summer dresses. 

Doeskin — A compact, twilled woolen, soft and pliable. 

Drilling — A coarse linen or cotton cloth used for 
trousers. 

Drop Skirt — An underskirt. 

Empiecement — A piece set in where the outer material 
is cut away. 

Epaulette {ep-paw-let) — A shoulder trimming to ex- 
tend over top of sleeve. 

Etamine {eh-ta-meen) — A light woolen cloth similar 
to batiste and nun's cloth. 

Eton — A short, square-formed jacket. 

Eyelet — A hole or loop worked in a garment to receive 
a hook, cord, etc. 

Faconne {fa^son-nay) — Fancy. 

Farmer Satin — A lining of cotton, chain or warp, and 
wool filling finishing with high lustre. 

Festooned — Draped in curves. 

Fichu (fi-shoe) — A draped piece crossing the shoul- 
ders, with long ends in front. 

Filet (fi-lay) — A square, crossed, knotted mesh net. 

Flannel — A soft, lightweight woolen fabric, plain 
weave or twilled, of which the yarn is but slightly twisted. 

Flannelette — A cotton imitation of flannel. 

Fold — Is made by doubling one part of the material 
over the other. 

Foulard (fu-lard) — A soft silk with a fine twill or 
cord. 

French Back — The usual three-seamed back with 
curved seams terminating at the armhole. 

French Gathers — Gathers made with one long stitch 
on the outside and a short one underneath, or the opposite. 

Fringe — ^Strands of beads, silk, chenille, etc., fastened 
to a narrow band. 

397 



Frogs — Are military braid ornaments, generally used 
on the front of a coat, jacket, cape, etc. 

Galatea — Is a strong, heavy cotton material, used for 
boys' summer suits, and dress skirts. 

Gauntlet Cuff — One shaped like the gauntlet on a rid- 
ing glove. 

Gigo (jig-o) — A large puff sleeve at top terminating 
close below, as the leg o' mutton sleeve. 

Giyigham — Is a smooth fabric, usually woven in checks 
or stripes. The yarn is dyed before weaving, so that 
the cloth is nearly alike on both sides; the warp and woof 
are of the same size. 

Girdle — A shaped belt for the waist. 

Grafting — Joining two edges with darning stitches in 
such a manner as to render the joining invisible. 

Granite — A slightly raised armure effect in silk and 
wool materials. 

Grenadine — Is a silk net or gauze, sometimes woven 
plain, but more often striped or with a pattern woven 
in it. 

Grosgrain (gro-grain) — A close woven, finely ribbed 
or corded silk with but little lustre. 

Guimpe — A loose waist with yoke and sleeves, to be 
worn with low-necked, sleeveless dress waists. 

Habit-Back Skirt — A skirt without the regular in- 
verted plait or any extra fullness at the back. 

Haircloth — A cloth woven of horse hair one way 
(from which it takes its name), and cotton or linen thread 
the other. 

Hem — A fold, made by twice turning over the edge 
of the material, and then sewing it down. 

Homespun — A cloth woven on hand looms or made 
in imitation of such cloth. 

Jabot — Any plain or fancy bow, made either of lace 
or linen, or both, and worn at the neck under the chin, 

Jean — A heavy cotton cloth much like denim. 

Jersey Cloth — Woolen stockinette. 

Kaikai — A thin Japanese silk. 

398 



Khaki (kaJike) — A light, brown colored cotton cloth 
used in army service in hot countries. 

Ladies' Cloth — A fine, wide, woolen flannel, slightly 
napped, similar to broadcloth. 

Landsoiv7he — A very fine silk and wool material. 

Lapels — Turned back pieces to form trimming, as the 
lapels or reveres of a coat. 

Lawn — Is a cotton imitation of linen lawn, which it 
resembles except in the finish, which is more soft. 

Liberty Crepe — A very soft crape-like material. 

Liberty Satin — A very soft, bright satin. 

Liberty Silk — A very soft, clinging silk. 

Mirror or Miroir — A very glossy mirro effect, obtained 
by ironing over the top surface of velvet or satin. 

Mohair — A finely woven wiry wool material, with a 
watered effect surface. 

Muslin — Is a fine, thin cotton fabric, always woven 
plain, and generally made only in white. Book muslin, 
mull, Swiss muslin, Victoria lawn, and Madras muslin 
are all muslins, with slight variations in the thickness 
or finish. 

Nap — Is the shaggy substance on the surface of the 
cloth. 

Notte — Basket weave. 

Ottoman — Is a thick, corded silk, used more for wraps 
than for dresses. It is corded with one thick, bright cord 
each side of two or three fine cords. 

Overcoating — Fabrics woven especially for overcoats, 
as covert, kersey, melton, beaver, frieze, whip cord, etc. 

Panel — A lengthwise piece of material between two 
rows of trimming or plaits, generally used on skirts and 
princess dresses. 

Pagoda Sleeve — A sleeve gathered full in the arm- 
hole, and falling away loosely straight across the lower 
edge, with front seam left open, very much like the Gre- 
cian sleeve. 

Peau de Soie (po-de-stva) — An entirely silk satin, 
very much alike on both sides. 

399 



Pique — Is a firm cotton fabric, originally made with a 
cord running from selvage. Many fancy weaves of the 
same material are now made. Cotton Bedford Cord, Mar- 
seilles, Ottoman and Repp closely resemble Pique and are 
often mistaken for it. 

PoloTiaise (pol-on-nays) — Waist and overskirt cut in 
one. 

Poplin — A textile fabric made of silk and worsted, 
and of many varieties. 

Postillion — Waistback with extension below waist line. 

Princess Wrapper — ^Waist and skirt parts cut in one. 

Print — Is a standard cotton fabric with the pattern 
stamped or printed on the right side only. 

Quilling — A narrow border or trimming of lace, and 
the like, folded or plaited so as to somewhat resemble a 
row of quills. 

Raiu Edge — Is the edge that is cut or torn. 

Redingote — An outside garment in polonaise style. 

Revere — Same as lapel. 

Ruche — A strip of material finely plaited, sewed or 
gathered through the center. 

Sateen — A cotton, satin-finished material in imitation 
of satin. 

Selvage — A finished edge of the material that cannot 
unravel. 

Satin — A silk fabric having a high lustre on its face. 

Serge — A wool material with a diagonal twill or cord. 

Shaped Belt — A wide belt cut to fit the figure and kept 
in shape with featherbone or whalebones. 

Spanish Flounce — A deep gathered flounce joined to 
the edge of a short skirt. 

Silesia — A light, close woven, fine twilled, cotton 
material. 

Stock Collar — A full or draped piece of material drawn 
over a plain foundation collar. 

Stole — Pieces of material worn down each side of the 
front, the same as a Catholic priest wears over his gown. 

400 



Surah Silk — Is a soft, bright, thin silk, twilled on 
both sides. 

Sun-Plaiting — Graduated accordion plaiting. 

Taffeta — A smooth, thin silk, with considerable body- 
to it and alike on both sides. 

Tabs — Loose hanging pieces. 

Tissue — Is a very thin fabric woven like gingham. 
In the checks each color is usually separated from the 
joining one by a fine cord. 

Tunic — An overskirt. 

Velveteen — A cotton velvet. 

Vest — An extra piece or trimming set in the front 
of a waist or coat. 

Voile — Nun's veiling, or a fine wool material. 

Volant — A plain gathered strip of material commonly 
known as a ruffle. 

V -Shaped — Cut in the form of the letter V. 

Warp — ^The lengthwise threads of a material. 

Wash Silks — Are those which can be washed, without 
injury. The China and India silks are smooth, plain wash 
silks with a soft finish. 

Worsted — Well twisted yarn, spun of long-staple wool 
which has been combed to lay the fibres parallel. 

Woof — The crosswise threads of a material. 

Yoke — A square or round piece of material acrfe,«6 the 
chest and shoulders. 

Zephyr — Is a weave of gingham, and can be distin- 
guished from it by its finer, more silky appearance, and 
by the warp being coarser than the woof, thus causing the 
check to be uneven. 

Zibeline — A wool material with long hairs. 



401 



INDEX. 



PAGE 

Accordion-plaited flounce 202 

Acetic acids, for removal of . . . ■ 379 

Acids, for removal of 378 

Added flare for a wrapper 283 

Adding flare to skirts 175, 176 

Adjusting front fullness of w^aist in a band 119 

Adjusting fullness of skirt portion of a dressing sack 284 

Adjusting fullness at top of sleeve in an evening coat 263 

Adjusting the flounce of a semiprincess to the upper skirt portion. 282 

Adjustment of neck band on waist (Fig. 39) 120 

Albuminoid matters, for removal of 378 

Alixarine inks, for removal of 378 

Alkalies, for removal of 378 

Allowance for fullness across the bust of a Russian blouse coat.. . 269 

Allowance for plait and fly in front of waist 131, 132 

Allowance for seams in the princess 279 

Allowance for seams in the tailor-made coat 242 

Allowance for tucked shirring on skirt gores 189 

Altered sleeve where under part was cut too low or short (Fig. 18) 111 

Altering a pattern for a long-waisted figure (Fig. 8) 106, 107 

Altering a pattern for a short-waisted figure (Fig. 7) 106, 107 

Altering back skirt length to help the appearance 224 

Altering draft when underarm measure is long compared withback. 34 
Altering draft when underarm measure is short compared with 

back 34 

Altering for a figure with small bust, description.*. 109 

Altering for a figure with a small bust (Fig. 12) 109 

Altering for a figure with a very prominent bust, description. .108, 109 

Altering for figure with a very prominent bust (Fig. 11) 108 

Altering for a long-waisted figure, description 106, 107 

Altering for a long-waisted figure (Fig. 8) 106 

Altering for an over-erect figure, description 107, 108 

Altering for an over-erect figure ( Fig. 10) 108 

Altering for a short-waisted figure, description 105, 106 

Altering for a short-waisted figure (Fig. 7) 104 

Altering for high-busted figure 109 

Altering for low-busted figure 109 

Altering for round-shouldered figure, description 107, 108 

Altering for round-shouldered figure (Fig. 9) 107 

Altering sleeve where under part is cut too low or short Ill 

Altering for sloping shoulders, description Ill 

403 



PAGE 

Altering for sloping shoulders (Figs. 15 and 16) 110 

Altering for square shoulders, description Ill 

Altering for square shoulders (Figs. 13 and 14) 110 

Amount of material required to make a suit 388 



App 
App 
App 
App 
App 
App 
App 
App 
App 
App 
App 
App 
App 
App 
App 
App 
App 
App 
App 
App 
App 
App 
App 
App 
App 



ng box-plaits to boys' Norfolk jacket 314 

ng braid to the bottom of skirts 160 

ng brush braid to the bottom of skirts ISS 

ng canvas and hair cloth to a coat 243, 244 

ng canvas to bottom of skirt 157 

ng collar band to waist 120 

ng collar to the evening coat 264 

ng embroidery ruffle to hem, description 323 

ng embroidery ruffle to hem (Fig. 149) 323 

ng fur trimming 358 

ng graduated circular flounce to skirt 189, 192 

ng graduated flounce to drop skirt 201, 202 

ng hair cloth to bottom of skirt 157, 158 

ng insertion, description 320 

ng lace insertion (Fig. 144) 320 

ng insertion above hem (Fig. 150) 324 

ng lining and interlining to the evening coat 264 



ing mohair braid to the bottom of skirts 160 

ing pockets to boys' trousers 306, 309 

ing rolled turn-over collar to coat (Fig. 96) 246 

ing shirred trimming ■ 356 

ing side pockets to boys' trousers 309 

ing rolled turn-over collar to the lined coat 246, 248 

ing rolled turn-over collar to the unlined coat 255, 256 

ing velveteen to bottom of skirt 153, 154 

Apron, little girls' one-piece, description 295 

Apron, draft of little girls' one-piece (Fig. 122) 296 

Aprons for little girls • 294 

Arm opening in the evening cape 268 

Armhole measure 21 

Armhole of coat, binding (description) 256, 257 

Armhole of coat, binding (Fig. 102) 257 

Arranging for hooks and eyes on waist 72 

Arranging the gathers at waist line in back of waist, description. . 119 
Arranging the gathers at waist line in back of waist (Fig. 2)7) . ... 119 
Arranging the gathers at waist line in front of waist, description. . 119 
Arranging the gathers at waist line in front of waist (Fig. 38).. . 119 

Articles made of white zepyr, to clean 384 

Attaching belt to the Russian blouse coat ■ 274 

Attaching circular cuff to sleeve 125, 126 

Attaching cuff to Bishop sleeve 126 

Attaching cuff to bottom of sleeve in an evening coat 263 

Attaching cuff to sleeve before inside sleeve seam is sewed 127 

Attaching skirt portion of a girl's dress to a belt , , , 300 

404 



PAGE 

Back measure, length of 21 

Back measures, lines showing (Fig. 2) 29 

Back measure of skirt 134 

Back of infants' outfit, drafting 288 

Back of waist, cutting center 42, 43 

Back of waist, drafting 31, 36 

Back of waist measure blank 38 

Back skirt length, lengthening of to help appearance 224 

Back-stitch (Fig. 18) 78 

Back, tucks in skirts turning toward 182 

Back waist draft (Illustration) 24, 35, 46, 70 

Bands and folds, cutting and making 350, 351 

Bands and straps, makmg 351 

Band, drawer (Fig. 145) 320 

Band for girls' Russian dress 298 

Band with buttonholes at top of boy's trousers 310 

Barring the end of a buttonhole (Fig. 29) 83 

Basting and stitching single box-plaited skirts 217, 218 

Basting and stitching sleeves in a tailor-made coat 248, 249 

Basting and stitching sleeve seams in an unlined coat 256, 257 

Basting canvas to the material in a tailor-made coat 244 

Basting cambric around the edges of the evening cape 267 

Basting cambric around the skirt portion of Russian blouse coat. . 275 

Basting collar to a Russian blouse coat 275 

Basting collar to a tailor-made coat 246, 247 

Basting corudroy 90 

Basting darts at neck of evening cape 266 

Basting in shirt waist sleeve 121 

Basting lining of waist ■ 65 

Basting material on waist lining 88, 89 

Basting open-mesh goods 90 

Basting plain graduated flounce to outside skirt 192 

Basting plush 90 

Basting skirt portions of a Russian blouse coat 275 

Basting skirt portion of a Russian blouse coat to belt 275, 276 

Basting sleeve lining 66 

Basting sleeves in a Russian blouse coat 275 

Basting stitches (Fig. 16) 78 

Basting the different sections of the princess together 280 

Basting the lining of the skirt portion of Russian blouse coat. . . . 276 

Basting the seams of an evening cape 266 

Basting the seams of an evening coat . . . • 262 

Basting the sections of a Russian blouse coat together 274 

Basting the skirt 149 

Basting velvet 90 

Basting woolen material 90 

Belt draft of Russian blouse coat for adult (Fig. 112) 272 

Belt for boy's Norfolk jacket 314 

405 



PAGE 

Belt for girl's Russian dress 298 

Belt for Russian blouse coat • 272, 273 

Belt, tailored 272, 273 

Bertha collars 123 

Bias bands and folds, cutting and making 350, 351 

Bias folds, ready-made 385 

Bias strip, diagonal joining of (Fig. 162) 351 

Bias strips or folds, marking (Fig. 161) 350 

Binding armhole of coat (Fig. 102) 257 

Binding for fitted hair cloth 245 

Binding the armhole of coat, description 256, 257 

Binding the upper edges of the inverted plaits in a girl's Russian 

dress 298 

Bishop sleeve (Fig. 10) 58, 59 

Bishop sleeve, attaching cuff to 126 

Bishop sleeve, cuff for ■ 126 

Bishop sleeves for little girls' dresses 298, 299 

Black cashmere, to clean ■ 377 

Back cloth, to renovate 381 

Black ink, to remove 378 

Black lace, to freshen 383 

Black silk, cleaning • 380 

Black, touch of in trimming 342 

Blank for sketch of dress 363 

Blonde, what she should wear • 339, 340 

Blood, for removal of 378 

Blouses, children's 294 

Blouse for maternity wear 202, 204 

Blouses, ladies' sailor 127, 128 

Blouse, sailor, (drafting) • 127 

Blouse, sailor (making) 127, 128 

Bone, crowding the (Fig. 2) 93 

Bone, springing the (description) 94 

Bone, springing the (Fig. 3) 93 

Boned lining (Fig. 4) 94 

Boning attachment on machine (Fig. 1) 92 

Boning attachment, position of seam on (Fig. 2) 93 

Boning a princess 280 

Boning coats with three cord tape 96 

Boning, crowding the seams in (Fig. 2) 93 

Boning dart seams in waist 93 

Boning seams running to the shoulder in waist 93 

Boning the waist 73 

Boning underarm seams of waist 94 

Bordered material, skirts made from ■ 360 

Bottom of skirts, stitching on 159, 161 

Bottom of skirt, tucks at 211, .212 

Bound open welt seam, description (Fig. 82) 232 

406 



PAGE 

Bound open welt seam (Fig. 84) 232 

Boy's knee pants, drafting back of 304, 306 

Boy's knee pants, drafting front of 303, 304 

Boy's knee pants, draft of back (Fig. 134) 305 

Boy's knee pants, draft of front (Fig. 133) 305 

Boy's knee trousers 303, 307 

Boy's knickerbockers • 313 

Boy's Norfolk jacket 313, 314 

Boy's pants 303, 307 

Boy's Russian coat, description 310, 313 

Boy's Russian coat (Fig. 139) 311 

Boy's Russian coat, upper and lower pocket lining pieces (Fig. 140) 312 

Boy's Russian suit, description 310, 313 

Boy's Russian suit (Fig. 139) 311 

Box-plait, (inverted) let in at the seams of a skirt 220, 221 

Box-plaited skirts, double 221, 223 

Box-plaited skirts, single 217, 221 

Box-plaited skirts, triple 223 

Box-plaits, double 357 

Box-plaits, single 357 

Box-plaits set in at the seam of a skirt 220, 221 

Braid, applying to bottom of skirt 160 

Braid on bottom of the princess 280 

Brassiere, drafting 325, 326 

Brassiere of embroidery (Fig. 152) 325 

Brier stitching 80 

Broadcloth, to remove stains from 382 

Broad seam stitched, description 229 

Broad seam stitched (Fig. 80) 231 

Brunette, what she should wear 340 

• Brush braid, applying to bottom of skirt 155 

Buster Brown collar, description 123, 125 

Buster Brown collar (Fig. 42) 123 

Bust measure 20 

Bust supporter, drafting 325, 326 

Bust supporter of embroidery (Fig. 152) 325 

Buttonholes, barring the end of 83 

Buttonholes, how to keep edges from fraying before making 84 

Buttonholes, how to prepare in thick cloth 387 

Buttonholes, plain (Fig. 28) 82, 83 

Buttonholes, tailored 83, 84 

Button moulds 85 

Buttons and buttonholes on waist and skirt bands 389, 390 

Buttons, how to attach large ones to shirt waists and tub gowns. . 388 

Buttons, sewing on 85 

Buttons, to prevent from tearing out 389 

Cambric and canvas at bottom of coat, description 244 

Cambric and canvas at bottom of coat (Fig. 92) 244 

407 



PAGE 

Cambric at top of evening coat sleeves 263 

Cambric handkerchief, to wash an embroideried Zll 

Canvas and hair cloth applied in front of coat, description. .. .243, 244 

Canvas and hair cloth applied in front of coat (Fig. 91) 244 

Canvas applied to bottom of skirt 157 

Cape collar 267 

Cape draft, evening (Fig. 109) • 267 

Cape, evening 264, 268 

Cape for an infant 292 

Cape, length of evening 264 

Carbon, for removal of mixture of 379 

Care of velvets 383, 384 

Car wheel grease, for removal of 379 

Cashmere, to clean black 377 

Cashmere, to make old look new 372 

Cat-stitching (Fig. 22 and 23) 78, 79, 80 

Center back of waist, cutting 42, 43 

Changing skirt draft for figure with prominent abdomen, descrip- 
tion 227 

Changing skirt draft for figure with prominent abdomen (Fig. 76). 227 
Changing skirt draft for figure with prominent hips, description.. 227 
Changing skirt draft for figure with prominent hips (Fig. 75).... 226 
Changing skirt draft for figure with round abdomen, description. 226 
Changing skirt draft for figure with round abdomen (Fig. 74)... 226 

Chemise 323 

Chest measure • 21 

Chestnuts, for removal of tannin from 378 

Children's aprons 294 

Children's blouses 294 

Children's drawers 332 

Children's two-piece drawers, drafting 332 

Child's one-piece drawers, complete (Fig. 158) 333 

Child's one-piece drawers, drafting and making 333, 334 

Child's one-piece drawers, draft of (Fig. 159) 333 

Child's one-piece drawers, pattern of (Fig. 160) 334 

Circular cuff draft (Fig. 43) 124 

Circular drawers, draft of (Fig. 146) 321 

Circular drawers, drafting 321, 322 

Circular graduated flounce 189, 192 

Circular skirts 207, 208 

Circular skirt, draft of three-piece (top part) (Fig. 63) 208 

Circular skirt, one-piece 207 

Circular skirt, three-piece 208 

Circular skirt, two-piece 207 

Circular skirt with circular front only 208 

Circular yoke of waist 352, 353 

Clean and keep lace, how to 370 

Clean articles made of white zephyr, to 384 

408 



PAGE 

Clean black cashmere, to 377 

Clean furs, to 379 

Clean gloves, to 381 

Clean ostrich feathers, to 381, 382 

Clean plush, to 381 

Clean ribbon, to 383 

Clean swans' down, to 379 

Cleaning black silk 380 

Cleaning delicate fabrics • 373 

Cleaning kid gloves 374 

Cleaning lace 375 

Cleaning velvets 373 

Cloth, to renovate black • 381 

Clothes, to take mildew from 371 

Clothing, little boys' 303, 314 

Clothing, little girls' 292, 303 

Close-fitting jacket sleeves, two-seam (Illustration) 56 

Close-fitting sleeve, two-seam (Illustration) 56 

Coat, boy's Russian, description 310, 313 

Coat, boy's Russian (Fig. 139) 311 

Coat, cambric and canvas in, description 243, 244 

Coat, cambric and canvas in (Fig. 92) 244 

Coat, canvas and hair cloth applied in front of, description. . . .243, 246 

Coat, canvas and hair cloth applied in front of (Fig. 91) 244 

Coat collar 239, 240 

Coat collar, applying to lined coat, description 246, 247 

Coat collar, applying to lined coat (Fig. 96) 246 

Coat collar, fancy (Fig. 108) 260 

Coat collar, padding (description) 245 

Coat collar, padding (Fig. 94) 245 

Coat collar, stitching stand (description) 246 

Coat collar, stitching stand (Fig. 95) 246 

Coat, double breasted ' 239 

Coat, drafting close-fitting 237, 240 

Coat, draft of close-fitting (Fig. 90) 241 

Coat, evening 261 , 264 

Coat for an infant 292 

Coat for maternity wear 206 

Coat, hair cloth pad for, description 245 

Coat, hair cloth pad for (Fig. 93) 245 

Coat, interlining and sheet wadding for (Fig. 98) 248 

Coat, laying pattern on material (Fig. 101) 251 

Coat, length of evening 261 

Coat, lined 243 

Coat, lining, back view of (Fig. 100) 250 

Coat lining, basting and putting in 249, 250 

Coat lining, front view of (Fig. 99) 249 

Coat, little girls' Russian, description 299 

409 



PAGE 

Coat, little girls' Russian (Fig. 126) 299 

Coat, padding, lower shoulder of (Fig. 97) 248 

Coat, Russian blouse, draft of upper part (Fig. 110) 270 

Coat, Russian blouse, draft of skirt portion with side seams (Fig. 

Ill) 271 

Coat sleeve draft 56 

Coat sleeve, two-seam 54, 55 

Coats, to bone with three-cord tape 96 

Coat, unlined • 253 

Coffee, to remove 384 

Collar and shield for little girls' dresses 300, 301 

Collar, bertha 123 

Collar, Buster Brown 123 

Collar band of waist ■ 120 

Collarbone 97 

Collarbone, nearsilk 97 

Collar, cape 226, 227 

Collar, coat 246, 247 

Collar, coat, to line a fancy 260, 261 

Collar, cutting stock from draft ■ 121, 122 

Collar draft, stock (Fig. 41) 122 

Collar, drafting stock 121 

Collar facing for boy's Norfolk jacket 314 

Collar, fancy coat • 260, 261 

Collar on a Russian blouse coat 275 

Collar, sailor 123 

Collar, sailor and Buster Brown (Fig. 42) 123 

Colored cottons, to wash 375 

Colors destroyed by acid, to restore 373 

Colored fabrics, removal of stains from 373 

Colors, harmony of • 341 

Colors, to prevent from fading 236, 237 

Colors, to restore '. 382 

Colors, to restore to faded ribbons 373 

Colors, to set • 383 

Combination skirt and knickerbockers (Fig. 156) 329 

Combination suit draft, top and lower portions in one (Fig. 157). . 331 
Combination suit, drafting (top and lower portions in one)... 330, 332 

Combination suit seamed together at waist line, description 327 

Combination suit seamed together at waist line, draft of (Fig. 155) 328 

Combining skirt and knickerbockers 329, 330 

Combining underwear 328 

Comparison of styles — present and past 342, 345 

Constructing a form for one's own use, how to 367, 368 

Constructing waist line in skirt draft 137, 138 

Construction of the coat collar ■ 239, 249 

Copying from fashion plates 346, 348 

Cord seam, description 234 

410 



PAGE 

Cord seam (Fig. 89) 234 

Cord shirring, description 353 

Cord shirring (Fig. 166) 353 

Cording 353 

Corduroy, basting 90 

Correct pose and importance of proper underwear 224, 225 

Corset cover of embroidery, description 324, 325 

Corset cover of embroidery (Fig. 151) 324 

Corset cover, seamless 327 

Corset cover, tight-fitting 324 

Corset for maternity wear 203 

Cotton, to wash colored 373 

Crepe folds, cutting 352 

Crow foot, description 358, 359 

Crow foot (Figs. 168, 169 and 170) 358, 359 

Crowding the seam in boning (Fig. 2) 93 

Cuff, attaching circular to sleeve 125, 126 

Cuff, attaching Bishop to sleeve (Fig. 45) 126 

Cuff, circular (draft) (Fig. 43) 124 

Cuff of an even depth all around 126 

Cuff put on to sleeve before sleeve seam is sewed 127 

Curl and wash feathers, to 379 

Cutting and applying flounce to drop skirt 199, 202 

Cutting and applying plain graduated circular flounce to skirt. 189, 192 

Cutting aprons for little girls 294 

Cutting a band for an infant's petticoat 291 

Cutting a blouse for a little girl 294 

Cutting a French waist lining 51 

Cutting a Gibson waist \. . 128, 130 

Cutting an infant's slip 290 

Cutting an infant's slip with yoke 291 

Cutting an infant's slip with fullness at the neck 290 

Cutting a kimono for little girl 294, 295 

Cutting and making a wrapper belt 283 

Cutting and making bias bands and folds 350, 352 

Cutting a pattern for round-shouldered person 107 

Cutting a princess lining 280 

Cutting a shield for little girls' dress 300 

Cutting a shirt waist 114 

Cutting and tracing the sleeve 55, 56 

Cutting a wrapper • 283 

Cutting collar band of waist 120 

Cutting lining and interlining for evening cape 268 

Cutting lining and interlining for evening coat 263, 264 

Cutting lining for skirt 156, 158 

Cutting pattern from waist draft 44 

Cutting pocket opening in boy's pants, description 306, 307 

Cutting pocket opening in boy's pants (Fig. 135) 306 

411 



PAGE 

Cutting single box-plaited skirts 217, 220 

Cutting stock collar 121 

Cutting the different portions of the waist 42, 44 

Cutting the different sections of a tailor-made coat 240, 242 

Cutting the gores for a shirred skirt 188, 189 

Cutting the gores of plaited skirts i81, 184 

Cutting the gores of the skirt from plaid material 228, 229 

Cutting the gores of the skirt from striped material 228, 229 

Cutting the rolled turn-over collar and lapels 242 

Cutting the sections of the coat from canvas 243, 244 

Cutting the skirt gores 147, 148 

Darning a tear invisibly in silk or wool 387 

Dart lines of skirt, drawing 138 

Dart measure of skirt 134 

Darts, proportioning in seven-gore skirt 139 

Darts, how to arrange and apportion 139 

Dart rules for waist yi 

Determining length of waist line in a tight-fitting princess 278 

Determining the quality of silk 380 

Determining width of bust line in a tight-fitting princess 276 

Determining width of the sections at waist line in a close-fitting 

coat 237 

Determining width of side forms in a close-fitting coat IZl , 238 

Designing a garment, points to be considered 338, 339 

Designing, illustrations showing points in 361, 362 

Diagonal joining for a bias strip (Fig. 162) 351 

Different method of applying flounces to outside skirts 192 

Disproportionate figures, to fit 105 

Division of front and back of waist draft for third form (Figs. 5, 

6 and 7) • 47, 48 

Division of hip line in a close-fitting coat 239 

Division of hip line in a tight-fitting princess 279 

Division of shoulder lines in a close-fitting coat 237 

Division of shoulder lines in a tight-fitting princess 276 

Double box-plaited skirts, cutting, basting and finishing 220, 223 

Double box-plaited skirts, drafting 222 

Double box-plaits 357, 358 

Double-breasted coat 239 

Double stitched seam 229 

Double stitched slot seam, description 232 

Double stitched slot seam (Fig. 85) 232 

Double stitched welt seam, description 231 

Double stitched welt seam (Fig. 82) 231 

Draft for umbrella drawers (Fig. 142) 318 

Draft plain coat sleeve (Illustration) 56 

Draft of back of waist (Illustration) 25, 35, 46, 70 

Draft of belt of Russian blouse coat for adult ( Fig. 112) 272, 273 

Draft of brassiere (Figs. 153 and 154) 326 

412 



PAGE 

Draft of bust supporter (Figs. 153 and 154) 326 

Draft of evening cape (Fig. 109) 267 

Draft of circular drawers (Fig. 146) 321 

Draft of circular skirt portion of Russian blouse (Fig. 63) 208 

Draft of close-fitting coat (Fig. 90) 241 

Draft of combination suit seamed together at waist line (Fig. 

155) 328- 

Draft of combination suit, top and lower portions in one (Fig. 

157) 331 

Draft of drawer band (Fig. 145) 320 

Draft of fifteen-gore flare skirt (Fig. 58) 179 

Draft of fifteen-gore single box-plaited skirt (Fig. 71) 219 

Draft of five-gore skirt (Fig. 56) 177 

Draft of French lining (Illustration) 49, 50 

Draft of front of waist (Illustration) 22, 33, 45, 68 

Draft of infant's slip (Figs. 115, 116 and 117) 289 

Draft of little girl's kimono (Fig. 120) 295 

Draft of nine-gore flare skirt (Fig. 57) . . . ■ 178 

Draft of one-piece rompers (Fig. 123) 297 

Draft of seven-gore skirt (Fig. 50) 144 

Draft of skirt portion of Russian blouse with seam at side (Fig. 

Ill) 271 

Draft of skirt with two or three tucks between the plain gores 

Fig. 59) 197 

Draft of stock collar (Fig. 41) 122 

Draft of tailor's cushion (Fig. 107) 259 

Draft of tight-fitting princess (Fig. 113) 277 

Draft of top of four-gore skirt with seam in center front (Fig. 

Ill) 271 

Draft of top of three-piece circular skirt (Fig. 63) 208 

Draft of underskirt yoke (Fig. 148) 322 

Draft of upper part of Russian blouse coat for adult (Fig. 110) 270 

Draft, waist, with one dart in front, underarm portion and two 

back pieces (Fig. 5) 97, 101 

Draft, waist, with two darts in front and two back pieces (Fig. 

6) 102, 105 

Drafting a close-fitting coat 237 

Drafting an evening cape • 264, 265 

Drafting a fitted belt for the Russian blouse coat for adult.. .272, 273 

Drafting a French lining 49, 51 

Drafting graduated circular skirt flounce 189, 192 

Drafting a little girl's kimono 294, 295 

Drafting a one-piece apron for little girl 295 

Drafting a rolled turn-over collar and lapel 239, 240 

Drafting a Russian blouse coat for adult 268, 272 

Drafting a sailor blouse • 127, 128 

Drafting a shirt-waist 113, 114 

"Drafting a tailor's cushion 259, 260 

Drafting a tight-fitting princess 276, 279 

413 



Dra 
Dra 
Dra 
Dra 
Dra 
Dra 
Dra 
Dra 
Dra 
Dra 
Dra 
Dra 
Dra 
Dra 
Dra 
Dra 
Dra 
Dra 
Dra 
Dra 
Dra 
Dra 
Dra 
Dra 
Dra 
Dra 
Dra 
Dra 
Dra 
Dra 
Dra 
Dra 
Dra 
Dra 
Dra 
Dra 
Dra 
Dra 

Dra 
Dra 
Dra 
Dra 
Dra 
Dra 
Dra 
Dra 



PAGE 

ng back of an infant's slip 288 

ng back of boy's knee trousers 304, 306 

ng back of waist 31, 32, 33, 34, 35 36 

ng bust supporter 325, 326 

ng brassiers 325, 326 

ng child's one-piece drawers 333, 334 

ng child's two-piece drawers ' 332 

ng a circular cuff 125 

ng circular drawers 321, 322 

ng close-fitting coat 237, 240 

ng combination suit seamed together at waist line 327 

ng combination suit with top and lower portion in one. 333, 332 

ng double box-plaited skirts 220, 223 

ng drawer band • 320, 321 

ng eight-gore skirt 194 

ng eleven-gore skirt 193 

ng fifteen-gore flare skirt 170, 172 

ng five-gore flare skirt • 172, 173 

ng five-gore skirt 163, 165 

ng fifteen-gore skirt 168, 170 

ng four-gore skirt 193, 194 

ng fourteen-gore skirt 195 

ng front of an infant's slip 287, 288 

ng front of boy's knee trousers 304 

ng front of waist 22, 23, 24 25 

ng, irregularities in skirt 223, 225 

ng, irregularities in waist • 46, 47 

ng nine-gore flare skirt 166, 168 

ng nine-gore skirt 165, 166 

ng nineteen-gore skirt 193 

ng one-piece skirt-waist sleeve 56, ' 58 

ng pattern for enlarged neck 46 

ng patterns for little girls' clothing 292, 293 

ng seven-gore flare skirt 173 

ng top of seven-gore skirt 135, 141 

ng seventeen-gore skirt 193 

ng side-plaited skirts 181, 185 

ng side-plaited skirts with an equal space between the 

plaits 181, 182 

ing side-plaited skirts with few seams 182 

ing single box-plaited skirt 217, 220 

ing six-gore skirt 194 

ing sixteen-gore skirt 196 

ing sleeve of an infant's slip 288, 289 

ing skirts of an even number of gores 193, 194 

ing skirts of an uneven number of gores 193 

ing skirts with more than three tucks or plaits between the 

plain gores • 188 

I 
414 



PAGE 
Drafting skirts with three tucks or plaits between the plain 

gores 186, 187 

Drafting skirts with two tucks or plaits between the plain 

gores 185, 186 

Drafting stock collar 122 

Drafting ten-gore skirt 195 

Drafting the sleeve lining 54, 55 

Drafting thirteen-gore skirt 193 

Drafting twelve-gore skirt 195 

Drafting twenty-one-gore skirt 193 

Drafting twenty-three-gore skirt 193 

Drafting waist with one dart in front, underarm portion and two 

back pieces 97, 102 

Drafting waist with two darts in front and two back pieces. . . .102, 105 

Draping lower part of back of waist 36 

Draping lower part of front of waist 25 

Draping a waist • 85, 87 

Draping waist on the lining 87 

Draping waist yoke 85 

Drawer band draft (Fig. 145) • 320 

Drawer band, drafting and cutting 320, 321 

Drawers, facing on (Fig. 143) 319 

Drawers, child's one-piece (complete) (Fig. 158) 323 

Drawers, child's one-piece, draft (Fig. 159) 333 

Drawers, child's one-piece, drafting and making 333, 334 

Drawers, child's one-piece, pattern (Fig. 160) 334 

Drawers, child's two-piece, drafting 332 

Drawers, circular, drafting 321, 322 

Drawers, draft for umbrella (Fig. 142) 318 

Drawers, draft for circular (Fig. 146) 321 

Drawers, drafting umbrella 318, 319 

Drawing dart lines of skirt 140, 141 

Dress little girl's panel (complete) (Fig. 131) 302 

Dress, little girl's panel, draft and back view of (Fig. 132) 303 

Dress, little girl's panel, description 302, 303 

Dress, little girl's princess effect, complete (Fig. 131) 302 

Dress, little girl's princess effect, draft and back view of (Fig. 132) 303 

Dress, little girl's Russian, description 297, 299 

Dress, little girl's Russian (Fig. 125) 298 

Dress, little girl's surplice, description 299, 300 

Dress, little girl's surplice (Fig. 127) 300 

Dress, little girl's yoke, description 301, 302 

Dress, little girl's yoke (Figs. 128 and 129) 301 

Dress, plaid (Illustration) 316 

Dress sleeve, foundation for a one-seamed tucked (Fig. 9) 56 

Dresses, easy designs to follow (Illustrations) 315, 316 

Dresses, summer (Illustrations) 315 

Dressing sacques 284 

415 



PAGE 

Dressing sacque sleeves - 284 

Dressing sacque, skirt portion of 284 

Dressmaking shop, fitting up a 365, 367 

Dressmaking shop, location of • 365 

Dressmaking shop, partitioning off the space in 365 

Dressmaking shop, reception room 365, 366 

Dressmaking shop, sewing room 366 

Duck, shrinking 293 

Drop of foundation skirt, how to finish 199, 202 

Drop skirt, accordion-pleated flounce for 202 

Drop skirt, ruching for flounce of 202 

Drop skirt, width of foot ruffle for and how to apply 199, 200 

Dye furs, to 383 

Eight-gore skirt 194 

Elbow measure 54 

Elbow sleeves ■ 60 

Eleven-gore skirt 193 

Embroidery, applying to hem (Fig. 149) 323 

Embroidery brassiers (Fig. 152) 325 

Embroidery bust supporter (Fig. 152) 325 

Embroidery corset cover (Fig. 151) 324, 325 

Empire skirt for maternity wear • 206 

Enlarged neck, drafting pattern for 46 

Evening Cape 264, 268 

Evening cape cut in four pieces 265 

Evening cape cut in one piece 265 

Evening cape cut in two pieces 265 

Evening coat 261 ,' 264 

Evening waists 87 

Extending the lines below the waistline in the princess draft.. 278, 279 

Extension of lines in a wrapper below the waistline 283 

Extension of skirt gores 142, 143 

Eyelets. 84 

Fabrics, cleaning delicate 373 

Facing drawn through pocket in boy's pants (Fig. 136) 307 

Facing for front of a boy's Norfolk jacket 313 

Facing for hip pockets in boy's trousers 306, 307 

Facing for pockets • 258 

Facing for side pockets in boy's trousers 308 

Facings of pocket for coat (Fig. 104) 258 

Facing on collar and fronts of a tailor-made coat 247 

Facing on drawers (Fig. 143) 319 

Facing the bottom of a waist, description 75 

Facing the bottom of waist (Fig. 15) 75 

Facing the front edges of boy's trousers or knickerbdckers 308 

Facing the fronts of an unlined coat 255 

Faded ribbons, to restore color to 373 

Fancy coat collar (Fig. 108) 260 

416 



PAGE 

Fancy collars on evening capes 266 

Fastening the front of maternity waist (Fig. 61) 204 

Fashion plates, copying from . . . • 346 

Fat mixture, for removal of 379 

Featherbone, various forms of 92 

Feather stitching (Fig. 24) • 80 

Feathers, to clean ostrich 381, 382 

Feathers, to wash and curl 379 

Fell seam (Fig. 26) 81, 317 

Fifteen-gore flare skiit draft (Fig. 58) 179 

Fifteen-gore flare skirt 170 

Fifteen-gore single box-plaited skirt draft (Fig. 71) 219 

Fifteen-gore skirt, drafting 168, 170 

Figures and plaids, matching, description • 229 

Figures and plaids, matching (Fig. 114) 230, 285 

Finished skirt placket (Fig. 64) 209 

Finished Buttonhole (Fig. 30) 83 

Finishing bottom of a dressink sack 284 

Finishing bottom of a princess 280 

Finishing bottom of an unlined coat 256 

Finishing bottom of a walking skirt 159 

Finishing bottom of a wiapper 283 

Finishing bottom of gores of skirt with a flounce 192 

Finishing bottom of plaited skirts 184 

Finishing bottom of skirt with velveteen 157 

Finishing bottom of sleeve in an unlined coat 256 

Finishing edges of yoke in little girls' dresses 302 

Finishing front edges of a Russian blouse coat 275 

Finishing off a waist yoke 87 

Finishing off the bottom of a waist 75 

Finishing plaited skirt at the bottom 184 

Finishing seams in the unlined coat 256 

Finishing seams of an infant's flannel skirt 291 

Finishing seams on the outside as a trimming 229 

Finishing skirt hem of heavy material 156 

Finishing skirt hem of soft fabrics 153 

Finishing skirt plackets 209, 211 

Finishing the bones in a waist 94, 95 

Finishing the bottom of a side-plaited skirt 184 

Finishing the bottom of a skirt 159, 160 

Finishing the bottom of leg portions of boys' pants in knicker- 

bocker style • 309 

Finishing the edges of an evening cape 267, 268 

Finishing the plackets of little girls' dresses 302 

Finishing the seams of flare skirts 174 

Finishing the seams of a shirt-wait 71 

Finishing the skirt placket • 209, 211 

Finishing the top of a side-plaited skirt 184 

417 



PAGE 

Finishing top of a flounce on an outside skirt 192 

Finishing top of flounce of drop skirt 202 

Finishing top of maternity skirt (Fig. 62) 205 

Finishing top of plaited skirts 184 

Finishing top of trousers or knickerbockers 310 

Finishing-touch of black 342 

Fitted belt of a Russian Diouse coat 272, 273 

Fitting a lining over ' a form 75, 76 

Fitting a Russian blouse coat for adult 274 

Fitting a shirt-waist 115 

Fitting a shirt-waist sleeve 117 

Fitting room in dressmaking shop 366 

Fitting the evening cape 266 

Fitting the lined coat 244, 249 

Fitting the princess 280 

Fitting the skirt 149, 151 

Fitting the sleeve lining 70, 71 

Fitting the unlined coat 254 

Fitting up a dressmaking shop 365, 367 

Fitting waist lining 67, 69 

Five-gore flare skiit • 172, 173 

Five-gore skirt draft (Fig. 56) 177 

Five-gore skirt, drafting of 163, 165 

Flannel, to finish the seams in 80 

Flannels, washing 368 

Flannels, whitening yellow 375 

Flare skirts, finishing the seams oi 174 

Flare skirts, general rule for adding flare 175, 176 

Flounce, accordion-plaited for drop skirt 202 

Flounce, circular 189, 192 

Flounce, finishing the top of for an outside skirt 192 

Flounces for outside skirts, plaited, shirrea, gathered, tucked 192 

Flounce for petticoat, cutting and applying 201, 202 

Flounce, graduated circular tor outside skirt, drafting of 189, 191 

Flounce, graduated for arop skirt, cutting and applying 200, 201 

Flounced skirt draft (Fig. 60) 198 

Flounce, Spanish 336 

Flounces applied to skirts in various ways 192 

Fold, stitched milliner's (Fig. 163) 351 

Folds, crepe (cutting; 352 

Folds, cutting and making 350, 352 

Fold maker (Fig. 165) 352 

Folds, milliner's stitched, description 351 

Folds, silk (making) 352 

Foot ruffle for drop skirt, width and how to apply 199, 200 

For removal of acids, vinegar, sour wine, must and sour fruit.. .. 378 

For removal of alixarine inks 378 

For removal of blood and albuminoid matters _. 3/8 

418 



PAGE 

For removal of grease 377, 378 

For removal of iron spots and black ink 378 

For removal of lime and alkalies 378 

For removal of oil colors, varnish and resin 378 

For removal of paints, etc 371 

For removal of stains and spots 371 

For removal of stearine . . • 378 

For removal of tannin from chestnuts, green walnuts or leather.. 378 
For removal of tar, cart w^heel grease, mixture of fat, resin, carbon 

and citric acids 379 

For removal of vegetable colors, fruit wine, red ink 378 

Form, fitting a lining over • 70, 16 

Form, how to construct for one's own use 367, 368 

Form, bust to prepare for one's own use Id 

Foundation for a tucked dress sleeve draft (Fig. 9) 56, 57 

Foundation of drop skirt • 199 

Foundation sleeve draft 60 

Foundation sleeve draft (Illustiation) 56 

Foundation skirt draft (Fig. 50) 144 

Four-gore skirt . . • 193, 194 

Four-gore skirt, draft of top with seam in center front (Fig. 111). 271 

Four-piece evening cape 265 

Fourteen-gore skirt 195 

French gathers • 354 

French hem (Fig. 27) 81, 82 

French knot ■ 82 

French lining draft (Illustration) 49 

French seam (Fig. 25) 81 

French waist lining, drafting 49, 50, 51 

French waist lining, tracing and cutting 50, 51 

Freshen black lace, to 383 

Frills as padding at armhole in waist (Fig. 14) 73 

Front, back and side-forms in order of placing together (Fig. 4) . . 43 
Front, back and side-forms, showing waist line on a straight line 

(Fig. 3) 41 

Front fullness of waist gathered into a band (Fig. 38) 119 

Front measures, lines showing (Illustration) (Fig. 1) 28 

Front opening of skirt, placket for (Fig. 67) 210 

Front skirt measure 134 

Front, tucks in a skirt turned toward the 182 

Front view of coat lining (Fig. 99) 249 

From waist draft (Illustiation) 22, ZZ, 45, 68 

Front waist measure 20 

Front of waist measure blank 27 

Fruit, for removal of sour 378 

Fullness at elbow of sleeve lining (Fig. 13) 66 

Fullness in the back of a Russian blouse coat 269 

Fur trimming, applying 358 

- 419 



PAGE 

Flared flounce for skirt, drafting of 191, 192 

Flare skirts, finishing the seams of 174 

Flare skirts, general rule fo adding flare 175, 176 

Furnishing for dressmaking shop 365, 367 

Furs, to clean 379 

Furs, to dye 383 

Garments for maternity wear 202, 206 

Gathering back fullness of shirt-waist and staying 119 

Gathering front fullness of shirt-waist into a band 119 

Gathering skiit hem of soft material 211, 213 

Gathering without a ruffler 388 

Gathers at back of waist (Fig. Z7) 119 

Gathers at top of skirt hem (Fig. 68) 212 

Gathers, French 354 

General rule for adding flare to skirts 175, 176 

General rule for skirt cutting 227, 228 

Gibson waist, making pattern for and cutting 128, 129 

Gibson waist, showing how to allow for plait (Fig. 48) 130 

Gibson waist with no fullness at waistline in back (Fig. 47) .... 129 

Girdles 97 

Girdle frame. . 97 

Girdles, princess 97 

Gloves, cleaning kid • 374 

Gloves, to clean 381 

Goods, to keep from fraying 388 

Gorea skirt, adding flare to fifteen 170, 171 

Gored skirt, adding flare to five • 172, 173 

Gored skirt, adding flare to nine 166, 167 

Gored skirt, adding flare to seven 173 

Gore, back of a piincess 279 

Gore, first side gore of a princess ■ 279 

Gore, front of a princess 278, 279 

Gore, second side gore of a princess 279 

Gored skirt, eight 194 

Gored skirt, eight — with seam in center front 195 

Gored skirt, eleven • 193 

Gored skirt, eighteen 196 

Gored skirt, fifteen 193 

Gored skirt, five 163, 164 

Gored skirt, four 193, 194 

Gored skirt, fourteen 195 

Gored skirt, four with seam in center front 193, 194 

Gored skirt, nine . . • 165, 167 

Gored skirt, nineteen 193 

Gored skirt of an even number ot gores 193, 196 

Gored skirt of an uneven number ot gore? 193 

Gored skirt, one-piece circular 207 

Gored skirt, six 194 

420 



PAGE 

Gored skirt, six — with seam in center front 194 

Gored skirt, seven • 134 

Gored skirt, sixteen 196 

Gored skirt, seventeen 193 

Gored skirt, ten 195 

Gored skirt, thirteen 193 

Gored skirt, three-piece circular (Fig. 63) 208 

Gored skirt, twelve 195 

Gored skirt, twenty 196 

Gored skirt, twenty-one 193 

Gored skirt, twenty-three 193* 

Gored skirt, twenty-two 196 

Gored skirt, two-piece circular with seam in center front 207 

Gored skirts with gores less than three inches ac hip line 196 

Gored skirts with gore more than three inches at nip line 195 

Gored skirts with seam in center front 271, 272 

Gores of a princess _ 278, 279 

Gores of skirt, notcnmg 148 

Gowns, night ' 323 

Graduated circular flounce, cutting and applying 191, 192 

Graduated circular flounce, drafting of 189, 191 

Graduated flounce for drop skirt, cutting and applying 200, 202 

Grease, for removal of 382 

Grease, for removal of car wheel 379 

Grease, to remove 371 

G een Walnuts, for removal o. tannin 378 

Habit-back skirt, placket for (Fig. 66) 210 

Hair cloth, applying to bottom of skirt 157 

Hair cloth fitted to bottom of skirt and bound (Fig. 54) 157, 158 

Hair cloth pad for coat (Fig. 93) '■ 245 

Hair cloth, shrinking 158 

Hanakerchief, to wash an embroidered cambric 2)17 

Hand Measure 54 

Harmony of colors • 341 

Hem, French 81, 82 

Hem, gathering at top in skirts, description 212 

Hem, marking in skirt .211, 212 

Hem, gathers at top in skirt (Fig. 68) 212 

Hem-stitching- 80, 81 

Hem with insertion set above (Fig. 150) 324 

Hemming (Fig. 21) 79 

Hemming the bottom of a princess ■ 280 

High-busted figure, altering for 109 

High waist line skirt 280 

Hip and side pockets of a boy's Russian blouse suit 311, 312 

Hip line in foundation skirt, testing 136, 137 

Hip measure • ■ ■ 133 

Holding plaits of skirt in place by tape 188 

421 



PAGE 
Hollow between the shoulder blades, taking measure of such 

figures ■ . . • 46, 47 

Holding plaits of skirt in place by trimming straps 184, 185 

Hook-and-eye bone 95 

Hooks and eyes on skirt placket (Fig. 65) 209 

Hooks and eyes on waist and skirt bands 289, 290 

Hooks and eyes on waists, arranging for • 72 

Household recipes 368, 384 

How a stout woman should dress 337, 338 

How a tall woman should dress 336, 337 

How cambric and canvas are used in coats (Fig. 92) 244 

How to allow for shrinkage in summer dresses 293 

How to attach large buttons to shirt-waists or tub gowns 388 

Ho wto clean and keep lace 370 

How to darn a tear invisibly • 387 

How to finish drop or foundation skirt ■ 199, 202 

How to prepare buttonholes in thick cloth 387 

How to remove water spots from pongee silk 389 

How to rip a long seam '. . . . . - 387 

How to sharpen shears temporarily 7. 387 

How to stitch very thin goods on the machine 389 

Illustration of two dresses with easy lines to lOllow 316 

Illustration of two summer dresses showing points in designing.. 361 

imitation strap seam, description 233 

imitation strap seam (Fig. 87) 233 

in-and-oul: pocket lap, description 259 

in-and-out pocket lap (Fig. 106) 259 

Infant's cape ■ 292 

Infant's coai 292 

Infants' iirst outfit • - .-. 287 

Inrant's flannel petticoat 291 

infant's night gown 291 

infant's petticoat joined to ordinary body (Fig. 119) 291 

Infant's petticoats • 291 

infant's slip, draft of (Figs. 115, 116 and 117) 289 

infant's slip, front of (complete) (Fig. 118) 290 

ink, for removal of alixarine 378 

ink, for removal of black 378 

ink, for removal of red • 378 

Inlaid plaits in skirt, supporting ■ 188 

Inserting pockets in a boy's Norfolk jacket 313 

Insertion, applying above hem (Fig. 150) 324 

Insertion, method of applying, description 320 

Insertion, method of applying (Fig. 144) _ 320 

Inside sleeve measure 54 

Interlining and sheet wadding in coat (Fig. 98) 248 

Interlining in a tailor-made suit 248 

Interlining in top of sleeve of a tailor-made suit 248 

422 



PAGE 

Interlining of an evening coat 264 

Interlining of a fancy coat collar - 260 

Interlining of a girl's Russian coat 299 

Interlining of a Russian blouse coat for adult 273, 274 

Inverted box-plait let in at the seams of a skirt 188 

Inverted plait in back of skirt 141, 142 

Inverted plaits in girl's Russian dress 297, 298 

Irregular figures, to fit 105, 109 

Irregularities in skirt drafting ; 223, 227 

Irregularities in waist drafting 46, 47 

Iron spots, for removal of 378 

Jacket, boy's Norfolk, description 313, 314 

Jacket, boy's Norfolk (Fig. 141) 313 

Jacket, boy's Russian, description 310, 313 

Jacket, boy's Russian (Fig. 139) 311 

Jacket sleeve, draft of close-fitting (Illustration) 56 

Jacket sleeve, to-seam 56 

Joining the center back seam of boy's trousers 310 

Joining the inside leg seam of boy's trousers 310 

Joining the outside leg seam of boy's trousers 309 

Joining the seams of a boy's Russian blouse 312 

Keep and clean lace, how to 370 

Kid gloves, cleaning 374 

Kimono for adults 284 

Kimono for little girls, description 294, 295 

Kimono, little girl's, draft for (Fig. 120) 295 

Kimono, little girl's, front and back view of completed (Fig. 121). 295 

Kimono with center back seam 295 

Knee measure for boy's pants 303 

Knee pants, drafting boys' 303, 306 

Knickerbockers and skirt combined, description 329 

Knickerbockers and skirt combined (Fig. 156) 329 

Knickerbockers, boys' 311 

Knot, to make a ". 77 

Lace, cleaning 375 

Lace, how to clean and keep 370 

Lace insertion, applying (Fig. 144) 320 

Lace, to color, by the use of dye, to match a gown 386 

Lace, to color, by using tube paints and gasoline, to match a gown. 387 

Lace, to freshen black 383 

Lapped cuff attached to sleeve (Fig. 46) ' 127 

Lapped seam, raw edge, description 233, 234 

Lapped seam, raw edge (Fig. 88) 233 

Laying shirt-waist pattern on the material 114 

Laying the different sections of the coat draft on the right grain 

of the material 243 

Laying the different sections of the semi-princess draft on the right 

grain of the material 281 

423 



PAGE 
Laying- the different sections of the Russian blouse coat draft on 

the right grain of the material 273 

Laying the different sections of the semi-princess draft of the right 

grain of the material 281 

Leather, for removal of tannin from 378 

Leg o'mutton sleeve, description 58 

heg o'mutton sleeve (Fig. 9) 57 

Lengthening skirt draft, description 226 

Lengthening skirt draft (Fig. 73) 225 

Lengthening girl's skirt with tucks at the bottom 293 

Length of evening coats 261, 262 

Length of fancy skirts 134 

Length of shoulder line in little girl's drafts 292, 293 

Length of sleeve 53 

Length of sleeve from shoulder to elbow 53 

Length of walking skirts • 158 

Lined coat 243, 249 

Lined skirts , 156. 158 

Linen, scorchea • 376 

Linen, to remove rust from 376 

Linen, to whiten 376 

Linens, shrinking 293 

Lingeries skirt, placket for 211 

Lining a princess 280 

Lining a wrapper 283 

Lining, basting the sleeve 66 

Lining, basting the waist 65 

Linmg, cutting the skirt 157 

Lining, fitting the sleeve 70 

Lining, fitting the waist . . • 67, 68, 69 

Lining for an evening cape 268 

Lining for an evening coat 264 

Lining for girl's Russian coat 299 

Lining for a fancy coat collar 260, 261 

Lining for a tailor-made coat ... .249, 250 

Lining for boy's Norfolk jacket 314 

Lining of the Russian blouse coat for adult 275, 276 

Lining of wais*:, basting the material on 88, 89 

Lining the belt of the Russian blouse coat for adult 276 

Lining, the boned (Fig. 4) • 94 

Lining, the waist (tracing) 40, 42 

Little girl's apron, draft of one-piece (Fig. 122) 296 

Little girls' dresses • 292, 304 

Little girls' dress with a plaited skirt joined to waist by means of 

a belt 300 

Little girl's dress with panel effect in front and back 302, 303 

Little girl's kimono, front and back view of completed one (Fig. 

121 295 

Little girl's kimono, draft for (Fig. 120) 295 

424 



PAGE 

Little girl's panel dress complete (Fig. 131) 302 

Little girl's panel dress, draft and back view of (Fig. 132) 303 

Little girl's princess dress complete (Fig. 131) 302 

Little girl's princess dress, draft and back view of (Fig. 132) • ■ • . 303 

Little girl's Russian coat, description 299 

Little girl's Russian coat (Fig. 126) 299 

Little girl's Russian dress (Fig. 125) 298 

Little girl's surplice dress, description a 299, 300 

Little girl's surplice dress (Fig. 127) 300 

Little girl's yoke dress (Figs. 128 and 129) 301 

Locating dart line in a coat draft 238 

Location of dressmaking shop 365 

Long-waisted dresses 280 

Long-waisted figure, alteration for, description 106, 107 

Long-waisted figure, altering pattern for (Fig. 8) 106 

Loops to take the place of eyes 84 

Low-busted figure, altering for 109 

Making a buttonhole (Fig. 28) 82 

Making and applying straps 351, 352 

Making and finishing the coat of boy's Russian suit 311, 312 

Making a flounce for a semi-fitting princess 282 

Making child's one-piece drawers 332, 334 

Making fancy coat collars 260 

Making side-plaited skirts 181, 185 

Making skirt with a sweep 151 

Making strap for seam (Fig. 164) 351 

Mark stitching or tailor's tacks 359, 360 

Marking bias strips (Fig. 161) 350 

Marking for bias folds • 350, 351 

Marking for hip pockets in boy's trousers 306, 307 

Marking for hooks and eyes on waist 72 

Marking for pockets 258 

Marking for tucks in skirt-waists (Fig. 33) 116 

Marking for tucks in waists 114 

Marking hem in skirt 212 

Marking the gores for a shirred skirt 189 

Marking tucks in bottom of skirt 212 

Matching figures and plaids, description 285 

Matching figures and plaids (Fig. 114) 285 

Material, amount required to make a suit 388 

Material, selection of • 335, 336 

Materials suitable for a semi-fitting princess 281 

Materials suitable for an evening cape 265 

Materials suitable for an evening coat 261 

Materials suitable for boy's Russian suits 311 

Materials suitable for little girls' dresses 293 

Materials suitable for little girls' Russian coat 299 

Maternity blouse or waist 203, 204 

425 



PAGE 

Maternity corset 203 

Maternity garments 202 

Maternity shirt-waists 203 

Maternity skirt 204, 205, 206 

Maternity skirt, finishing the top of (Fig. 62) 205 

Maternity surplice waist 204 

Matei nity underwear • 203 

Maternity waist, fastening for fro;jt of (Fig. 61) 204 

Measure blank, back of wais.t . 38 

Measure blank, front of wak ; 27 

Measure blank, skirt. . • . , 145 

Measure, blank sleeve 64 

Measuring waist line in a Russian blouse coat 269, 270 

Measurements, skirt 133, 134 

i>ieasurements, sleeve • 53, 54 

Measurements, testing of waist 39, 40 

Measurements, waist 20, 21 

/ Merino and silk, washing 376 

Method of applying insertion 320 

Mildew from clothes, to take 375 

Milliner's fold, description 351 

Milliner's fold, stitched (Fig. 163) 351 

Mixture of carbon, to remove 379 

Mixture of acetic acids, to reinove 379 

Mixture of fat, to remove 379 

Mixture of resin, to remove • 378 

Mohair braid, applying to bottom of skirt 160 

Mousquetaire sleeve 60 

Mousquetaire sleeve, one-seam (Fig. 12) 63 

Muslin underwear 317 

Must, to remove • 378 

Nearsilk collarbone 97 

Neck band of waist, adjustment of (Fig. 39) 120 

Neck measure ■ 20 

Neck, rules 36, 37 

Needles, sizes to use 317 

Night gowns 323 

Nine-gore skirt, drafting 165, 166 

Nine-gore flare skirt • 166, 167 

Nine-gore flare skirt draft (Fig. 57) 178 

Nineteen-gore skirt 193 

Norfolk jacket, boy's (Fig. 141 313 

Norfolk jacket, boy's, drafting and finishing rolled turn-over collar 

for 314 

Norfolk jacket, boy's, interlining and making box-plaits for 314 

Norfolk jacket, boy's, making belt for 314 

Norfolk jacket, lining of boys' 314 

Nun tucks 211, 213 

426 



PAGE 

Nun tucks, preparing (Fig. 69) 213 

Oil colors, for removal of 378 

Old cashmere made to look new 372 

Old goods, to restore finish to 372 

Omission of the divisions of the back of a Russian blouse coat. . . . 269 

One-piece apron for girls 295 

One-piece apron for little girl, draft of (Fig. 122) 296 

One-piece circular skirt 207 

One-piece evening cape • 265 

One-piece overskirt or tunic 213, 214 

One-piece rompers completed (Fig. 124) 296 

One-piece rompers, draft of (Fig. 123) 297 

One-seam Bishop sleeve (Fig. 10) 59 

One-seam blouse waist sleeve (Fig. 9)^ 57 

One-seam foundation for tucked dress sleeve (Fig 9) 57 

One-seam leg o'mutton sleeve ._ 57 

One-seam mousquetaire sleeve, description 60 

One-seam mousquetaire sleeve (Fig. 12) , 63 

One-seam shirt-waist sleeve 56, 58 

One-seam shirt-waist sleeve (Fig. 8) ■ 57 

Openings for arms in evening cape 268 

Open-mesh goods, basting 90 

Open welt seam, description 231 

Open welt seam (Fig. 83) 232 

Order of taking measures for boy's knee trousers 303 

Origin of styles 342, 345 

Ostrich feathers, to clean . 381, 382 

Outside seams, finishing and stitching as a trimming 229, 234 

Over-and-underlap of shirt-waist cuff 120 

Overcasting stitch (Fig. 19) 78 

Over-erect figure, altering for an (description) 107 

Over-erect figure, altering for (Fig. 10) 107, 108 

Overhanding stitch (Fig. 20) .- 79 

Overskirt, arranging draft for pattern of (Fig. 70) 214 

Overskirt, one-piece 213, 214 

Overskirt, o^ tunic 213, 214 

Overskirt with point in front and back 214 

Overskirt with point in back 214 

Overskirt with seam in front 215 

Padding at armhole of waist (Fig. 14) TZ, 74 

Padding of the waist 74 

Padding shoulder of coat (Fig. 97) 248 

Padding stitch (Fig. 94) 245 

Padding stitches in tailor-made coats . . . ■ 245 

Paints, for removal of • 371 

Panel diess, little girl's complete (Fig. J31) ■ 302 

Panel dress, little girl's, draft and back view of (Fig. 132) 303 

Panel front 280 

427 



PAGE 

Pants, boy's knee, draft of back (Fig. 134) 305 

Pants, boy's knee, draft of front (Fig. 133) 305 

Pants, boy's knee, inside view of fly and pocket (Fig. 137) 308 

Pants, boy's knee, outside view of fly and pocket (Fig. 138) 310 

Partitioning off the space in dressmaking shop 365 

Patch pockets 259 

Peplum, the 2i^9 

Petticoats, infants' • 291 

Petticoats, infants' joined to ordinary body (Fig. 119) 291 

Petticoat or foundation skirt ]99 

Petticoat, ruching for flounce of 202 

Pinking 355, 356 

Pin-tuck shirring (Fig. 167) 354 

Placket at front gore of skirt (Fig. 67) 210 

Placket, fastening with hooks and eyes 209, 210 

Placket, fastening with patent fasteners 209 

Placket, finished (Fig. 64) 209 

Placket finish for wash dress (Fig. 130) 302 

Placket, finishing on skirt 209 

Placket for habit back skirt, description 209, 210 

Placket for habit back skirt (Fig. 66) 210 

Placket for lingerie or wash skirt 211 

Plackets in little girls' dresses 302 

Plackets in side front of skirt 210 

Placket opening showing hooks and eyes (Fig. 65) 209 



Pla 
Pla 
Pla 
Pla 
Pla 
Pla 
Pla 
Pla 
Pla 
Pla 
Pla 
Pla 
Pla 
Pla 
Pla 
Pla 
Pla 
Pla 
Pla 
Pla 
Pla 
Pla 
Pla 



d dress, illustration of • 316 

ds 285, 286 

d material, cutting skirt gores from 228 

d material, to lay skirt pattern on correctly (Fig. 78) 230 

n coat sleeve draft (Illustration) 56 

n tight-fitting waists • 88 

t and back view of coat lining (Fig. 100) 250 

t in the center back of a coat 250 

t on each seam of skirt 181, 182 

ted flounce for petticoat 202 

ted skirts, cutting the gores of 182 

ted skirt, double box 220, 222 

ted skirts, finishing the bottom 185 

ted skirt, fifteen-gore draft of single box (Fig. 71) 219 

ted skirt for maternity wear 204 

ted skirts — holding plaits in place by trimming straps • • • -184, 185 

ted skirts — holding plaits in place by use of tape- • 188 

ted skirt, pressing one of wash material 188 

ted skirt, side • 1.81, 184 

ted skirt, single box 2i7, 219 

ted skirt, single box plaits set in at tlie seams 220 

ted skirt, triple box 223 

ted skirt, with few seams 182. 183 

428 



PAGE 
Plaited skirt with more than three plaits between 'he plain 

gores 186, 1S7 

Plaited skirt with plaits between the plain gores 185, 188 

Plaited skirt with three plaits between the plain gores 186, 187 

Plaited skirt with two plaits between the plain gores 185, 186 

Plaits between plain gores of a skirt 185 

Plaits, double box 221. 223 

Plaits, inlaid in skirt, how to support 188 

Plaits, inverted at back of skirt I'-h 142 

Plaits, inverted box let in at the seams of a skirt 188 

Plaits of skirt held in place by tape 188 

Plaits of skirt held in place by trimming straps 219 

Plaits on skirt gores at knee depth or below ■' 118 

Plaits, single box 217, 218 

Plaits, single side • 181, 183 

Plaits turning toward the back in a skirt 173 

Plaits turning toward the front in a skirt 173 

Plush, basting 90 

Plush, to clean 381 

Pocket facings in a tailor-made coat 258 

Pocket, inside view of side pocket in boy's pants (Fig. 137) .... 308 

Pocket, in-and-out lap (Fig. 106) 259 

Pocket in boy's pants, facing drawn through (Fig. 136) 307 

Pocket in boy's pants, stitching and cutting opening (Fig. 135)... 306 

Pocket in boy's Russian blouse coat 311, 312 

Pocket lining in a tailor-made coat 258 

Pocket marks in a tailor-made coat 257, 258 

Pocket, outside view of side pocket in boy's pants (Fig. 138) .... 310 

Pocket showing facings (Fig. 104) 258 

Pocket slash stitched (Fig. 103) 257 

Pocket, reverse side stitched around edge (Fig. 105) 258 

Pocket, upper and lower linmg pieces in boy's Russian coat (Fig. 

140 312 

Pockets, applying hip in boy's knickerbockers or trousers . • • -306, 307 

Pockets, applying side in boy's knickerbockers or trousers 309 

Pockets, hip in boy's knickerbockers or trousers 306, 307 

Pockets in a tailor-made coat 257, 259 

Pockets, patched 259 

Points to be considered ni designing a garment 338 

Pongee silk, how to remove water spots from 389 

Position of seam on the bone and attachments (Fig. 2) 93 

Pressing . . • 89, 90 

Pi essing cashmeres 89, 90 

Pressing in tailor-made suits 235, 236 

Pressing plaited skirt of wash material • 188 

Pressing seams in an evening cape 263 

Pressing seams open 89 

Pressing silks 89, 90 

429 



PAGE 

Pressing skirt ■ 161 

Pressing soft fabrics 89 

Pressing velvet 89 

Prevent colors from fading, to 373 

Princess, draft of tight-fitting (Fig. 113) 277 

Princess dress, little girls complete (Fig. 131) 302 

Princess dress, little girls', draft and back view of (Fig. 132) .... 303 

Princess lining 280 

Princess, the 276, 282 

Prominent abdomen, changing draft for, description 227 

Prominent abdomen, changing draft for (Fig. 76) 227 

Prominent bust, altering for, description 108, 109 

Prominent bust, altering for (Fig. 11) 108 

Prominent hips, changing draft for, description 227 

Prominent hips, changing draft for (Fig. 75) 226 

Proportioning darts in five-gore skirt 163, 164 

Proportioning darts in fifteen-gore skirt 168, 169 

Proportioning darts in nine-gore skirt 165, 166 

Proportioning darts in sevn-gore skirt 139 

Proportioning darts in the skirt portion of a Russian blouse 

suit • 271, 272 

Proportioning gores at hip in seven-gore skirt 135, 136 

Raw edge lapped seam, description 233, 234 

Raw edge lapped seam (Fig. 88) 233 

Ready-made bias folds 385 

Reception room in dressmaking shop 365, 366 

Recipes, household • 368, 384 

Red ink, for removal of 378 

Regulation waist line in Russian blouse suit 270 

Renovate black cloth, how to • 381 

Resin, for removal of 318 

Resin mixture, for removal of 379 

Restore colors • 382 

Ribbons, to clean 383 

Ribbons, to restore colors to faded 373 

Rolled turn-over collar and lapels on tailor-made coat 239, 240 

Rolled turn-over collar and lapels on boy's Norfolk jacket ". 314 

Rompers 296, 297 

Rompers, one-piece complete (Fig. 124) 296 

Rompers, one-piece, draft of (Fig. 123) 297 

Room space in dressmaking shop 365 

Round abdomen, changing draft for, description 226 

Round abdomen, changing draft for (Fig. 74) 226 

Round shouldered figure, altering for a 107 

Round shouldered figure, cutting a pattern for 107, 108 

Round shouldered figure, taking measurements of 46, 47 

Round shoulders, altering for (Fig. 9) 107 

Ruchings 355 

430 



PAOE 

Ruching for flounce of petticoat 202 

Ruffle, applying to hem (Fig. 149) 323 

Rule for taking skirt measurements 133, 134 

Rules for darts in front of waist lining 37 

Rules for making neck curve 36 

Running stitch . . . • 78 

Russian blouse coat for adult, draft of belt (Fig. 112) 272 

Russian blouse coat for adult draft of circular skirt portion (Fig. 

63) 208 

Russian blouse coat for adult draft, of skirt portion with side seam 

(Fig. Ill) 271 

Russian blouse coat for adult, draft of upper part (Fig. 110) 270 

-Russian blouse for adult with fullness in back 270 

Russian blouse for adult with high neck 273 

Russian blouse for adult with tight-fitting back 270 

Russian blouse for adult with V-shaped neck 273 

Russian blouse suit 269, 276 

Russian blouse suit with a dart 269 

Russian blouse suit without a dart 269 

Rssian blouse with a vest 276 

Russian coat for girls 299 

Russian coat, little girls' (Fig. 126) • •' 299 

Russian dress for girls 297, 298 

Russian dress, little girls' (Fig. 125) 298 

Russian suit, boys' (Fig. 139) ■ 311 

Rust from linen, to remove 376 

Sacques, dressing 284 

Sailor blouses, drafting 127 

Sailor blouses, making ■ 127, 128 

Sailor collar, description 123 

Sailor collar (Fig. 42) 123 

Scale of eights on square • 19 

Scale of halves on square 18 

Scale of fourths on square 19 

Scale of sixths on square 19 

Scale on thirds on square • 19 

Scorched linen 376 

Seam allowance in a tailor-made coat 242 

Seam, bound open welt, description (Fig. 84) 232 

Seam, bound welt (Fig. 83) 232 

Seam, broad stitched, description 229 

Seam, broad stitched (Fig. 80) 231 

Seam, cord, description 234 

Seam, cord (Fig. 89) 234 

Seam, double stitched • 229 

Seam, double stitched slot, description 232 

Seam, double stitched slot (Fig. 85) 232 

Seam, double stitched welt, description 231 

431 



PAGE 

Seam, double stitched welt (Fig. 82) 231 

Seam, fell 81 

Seam, French 81 

Seam, how to rip a long one 387 

Seam, imitation strap (Fig. 87) 233 

Seam, imitation strap, description 233 

Seamless corset cover 327 

Seam, open welt, description 231 

Seam, open welt (Fig. 83) 232 

Seam, raw edge lapped, description 233, 234 

Seam, raw edge lapped (Fig. 88) 233 

Seam running to shoulder in boy's Norfolk jacket 313 

Seam, single stitched, description 229 

Seam, single stitched (Fig. 79) • 231 

Seam, slot — doubled stitched 232 

Seam, slot — single stitched 232 

Seams, outside finish of 229 

Seams, pressing open 89 

Seams, stitching and finishing as a trimming 229 

Seams, to finish in flannel • 80 

Seams, to finish in waist lining 71, 12 

Seam, strap, description 232, 233 

Seam, strap (Fig. 86) • 233 

Seam, tuck, description 232, 233 

Seam, tuck (Fig. 83) 232 

Seam, welt, descriptoin 231 

Seam, welt (Fig. 81) ■ 231' 

Second fitting of the waist li, 74 

Selection of material 335, 336 

Selvage seams, to prevent drawing 390 

Semi-fitting princess 281 

Semi-fitting princes^, nth a flounce ' 282 

Set colors, to ■ 383 

Seven-gore flare skirt 173 

Seven-gore skirt draft (Fig. 50) 144 

Seven-gore skirt, drafting 135, 140 

Seventeen-gore skjrt, drafting 193 

Sewing hooks and eyes on a princess 280 

Sewing hooks and eyes on a Russian blouse coat 275 

Sewing hooks and eyes on a wrapper 283 

Sewing machine, care of 389 

Sewing on buttons 85 

Sewing on embroideried ruffle to hem (Fig. 149) 323 

Sewing on insertion above hem (Fig. 150) 324 

Sewing on lace insertion or embroidery 320 

Sewing, position of work on machine 389 

Sewing room in dressmaknig shop 366 

Shears, how to sharpen temporarily 387 

432 



PAGE 

Shield and collar for little girls' dresses 300, 301 

Shirred skirts, cutting gores of 188, 189 

Shirred skirts, marking gores for the shirring 189 

Shirred trimming, mode of applying 356. 

Shirring • 354 

Shirring, cord (Fig. 166) 353- 

Shirring, French 354 

Shirring, tucked 354 

Shirring without a ruf fler • 388 

Shirt-waist, arranging the fullness at waist line in back 119 

Shirt-waist, arranging the fullness at waist line in front 119 

Shirt-waist collar band 120 

Shirt-waist, cutting 114 

Shirt-waist, drafting 113 

Shirt-waist, finishing the armhole of 115 

Shirt-waist, fitting - 115,116 

Shirt-waist, front fullness gathered into a band 119 

Shirt-waist, laying the pattern on the material 114 

Shirt-waist, making allowance for plait and fly on fronts 131, 132 

Shirt-waist, plait in front of 132 

Shirt-waist sleeve, basting and putting in 66, 67 

Shirt-waist sleeve, drafting a one-niece 56, 58 

Shirst-waist sleeve, fitting 117 

Shirt-waist sleeve, one-seam (Fig. 8) 57 

Shirt-waist sleeve, opening of 120 

Shirt-waist sleeve, putting on the cuff 120 

Shirt-waist sleeve, two-seams (Illustration) 56 

Shirt-waist, marking for tucks 116 

Shirt-waist, stitching and finishing the seams of 121 

Shop, fitting room in 366 

Shop, fitting up a dressmaking • 365, 366 

Shop, furnishings 366 

Shop, location 365 

Shop, partitioning off space in 365 

Shop, reception room in • 365 

Shop, room in 365, 366 

Shortening skirt draft, description 225 

Shortening skirt draft (Fig. 72) 225 

Shortening skirt with tucks at the bottom 293 

Short-waisted figure, altering for a, description 106, 107 

Short-waisted figure, alternig pattern for (Fig. 7) 104 

Shoulder measure 21 

Shrinking duck 90 

Shrinking fullness out of top of sleeve in the unlined coat 256 

Shrinking hair cloth 158 

Shrinking linens 90 

Shrinking material for little girls' dresses 293 

Shrinking material for tailor-made suits 236 

433 



PAGE 

Shrinking materials that fade or spot 236, 237 

Side measure of skirt 134 

Side-plaited skirt, drafting and making 181, 184 

Side-plaited skirts, finishing the bottom of 185 

Side-plaited skirts, finishing the top of 184 

Side-plaited skirts with an equal space between plaits 181, 184 

Side-plaited skirts with few seams 182, 183- 

Side plait let in at the seams of a skirt 188. 

Side pocket in boys' pants, inside view of (Fig. 137) 308 

Side pocket in boys' pants, outside view of (Fig. 138) 310 

Side pockets in boy's trousers ■ 309 

Silk and Merino, washing 2il(y 

Silk folds, making 352 

Silk, how to darn a tear invisibly in -. 387 

Silk, how to remove water spots from pongee 389 

Silk, pressing • 89, 90 

Silks, thread to use in basting and how to remove 390 

Silk, to determine quality of 380 

Silk, to remove marks of stitching in 386 

Simulated box-plait on front of waist, description 131, 132 

Simulated box-plait on front of waist (Fig. 49) 132 

Single box-plaited skirt, basting and stitching 217, 220 

Single box-plaited skirt, cutting 220 

Single box-plaited skirt draft, fifteen-gore (Fig. 71) 219 

Single box-platied skirt, drafting 217, 218 

Single box-plaits 357 

Single breasted coat " 239 

Single side plaits 356, 357 

Single stitched seam, description 229 

Single stitched seam (Fig. 79) 231 

Six-gore skirt, drafting 194 

Sixteen-gore skirt, drafting 196 

Skirt and knickerbockers combined, description 329 

Skirt and knickebockers combined (Fig. 1561 . . . ". 329 

Skirt, applying braid to bottom of 154, 155 

Skirt applying brush braid to bottom of 155 

Skirt, applying canvas to the bottom of 157 

Skirt, applying hair cloth to the bottom of 157 

Skirt, applying mohair braid to the bottom of 154, 155 

Skirt, applying velveteen to the bottom of 153, 154 

Skirt, back measure 134 

Skirt, basting the ■ 149 

Skirt, circular 207, 209 

Skirt, constructing waist line 137, 138 

Skirt, cutting the gores from striped material 228 

Skirt, cutting and marking the gores • 147, 148 

Skirt, cutting the gores from plaid material 228 

Skirt cutting, variances to the general rule 227, 228 

434 



PAGE 

Skirt, dart lines in foundation draft 140, 141 

Skirt, dart measure 134 

Skirt, double box-plaited 221, 223 

Skirt, drafting five-gore 163, 164 

Skirt, drafting fifteen-gore 168, 172 

Skirt drafting, irregularities in 223, 225 

Skirt, drafting nine-gore 165, 166 

Skirt, drafting top of seven-gore 135, 141 

' Skirt draft, lengthening (Fig. 73) 225 

Skirt, draft of flounced (Fig. 60) 198 

Skirt, draft of seven-gore (Fig. 50) • 144 

Skirt draft, shortening (Fig. 72) 225 

Skirt draft with two or three tucks between the plain gores (Fig. 

59) 197 

Skirt, eight-gore (drafting) ■ 194 

Skirt, eleven-gore (drafting) 193 

Skirt, extension of the gores 142, 143 

Skirt, fifteen-gore flare, description 170, 171 

Skirt, fifteen-gore flare (Fig. 58) 179 

Skirt, finishing bottom of walking 159, 161 

Skirt, finishing the bottom of a side-plaited 185 

Skirt, finishing the placket of 209, 210 

Skirt, finishing the top of a side-plaited 185 

Skirt, fitting the 149, 151 

Skirt, five-gore draft (Fig. 56) 177 

Skirt, five-gore flare 172, 174 

Skirt, flare, finishing the seams of 174 

Skirt flounces applied in various ways 192 

Skirt for maternity wear 204, 206 

Skirt, four-gore (drafting) . . 193 

Skirt, fourten-gore (drafting) 195 

Skirt, front measure 134 

Skirt hem, finishing of 154, 155 

Skirt hem in soft material gathered at top (Fig. 68) 212 

Skirt hem slip-stitched 156 

Skirt, hip measure 133 

Skirt, inverted plait at back 141, 142 

Skirt, length of fancy 151 

Skirt lining, cutting of etc 156, 157 

Skirt measure blank 145 

Skirt measurements 133, 134 

Skirt measurements, rules for taking 133 

Skirt, method of laying pattern on plaid material (Fig. 78) 230 

Skirt, method of laying pattern pn striped material (Fig.. 11^ • • • . 230 

Skirt, nine-gore flare, description 166 

Skirt, nine-gore flare (Fig. 57) 178 

Skirt, nineteen-gore (drafting) 193 

Skirt, one-piece circular 207 

435 



Skir 
Skir 
Skir 
Skir 
Skir 
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Skir 
Skir 
Skir 
Skir 
Skir 
Skir 
Skir 
Skir 
Skir 
Skir 
Skir 
Skir 
Skir 
Skir 
Skir 
Skir 
Skir 
Skir 
Skir 
Skir 
Skir 
Skir 
Skir 
Skir 
Skir 
Skir 
Skir 
Skir 
Skir 
Skir 
Skir 
Skir 
Skir 
Skir 
Skir 
Skir 
Skir 
Skir 
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PAGE 

placket, finished (Fig. 64) 209 

placket, for front opening (Fig. 67) 210 

placket for habit-back (Fig. 66) 210 

placket showing hooks and eyes (Fig. 65) 209 

plackets, finishing of 209, 210 

portion of a dressing sack 284 

portion of Russian blouse, draft of (Fig. 63) 208 

portions of a Russian blouse coat 271 

portions of a tailor-made coat 23 i, 239 

pressing 161 

proportioning darts in five-gore 164 

proportioning darts in fifteen-gore 169 

, proportioning darts in nine-gore 165, 166 

, proportioning darts in seven-gore 139 

, relative proportions of gores ' 134, 135 

, seven-gore (drafting) 135, 141 

, seven-gore flare 173 

, seventeen-gore (drafting) 193 

, side measure 134 

, six-gore (drafting) 194 

, sixteen-gore (drafting) 196 

, stiffening in bottom of 158 

, stitching the seams 152 

, ten-gore drafting 195 

, testing hip line 137, 138 

, testing waist line in foundation draft 139 

, top of four-gore draft with seam in center front (Fig. 111). 271 

, thirteen-gore, drafting 193 

, three-gored circulai, description 208 

, three-gored circular draft (top) (Fig. 63) 208 

, twelve-gore, drafting 195 

, twenty-one, drafting 193 

, twenty-three, drafting 193 

, two-piece circular with seam in center front 208, 209 

, walking 158 

with a flounce 189, 190 

with a sweep 151 

with a tunic 213, 214 

with plait on each seam 185, 186 

with tucks at the bottom 211, 212 

s, adding the flare to 175, 176 

s, lined 156, 157 

s of an even number of gores 193, 194 

s of an uneven number of gores 193 

s of bordered material 360 

s, plaited, finishing the bottom 185 

s, shirred 188, 189 

s, side-plaited, drafti'.ig and making 181, 184 

436 



PAGE 

Skirts, side-plaited with an equal space between plaits 181, 182 

Skirts, side-plaited with few seams 182, 183 

Skirts, single box-plaited, basting and stitching 218, 220 

Skirts, single box-plaited, cutting 218, 219 

Skirts, single box-plaited, drafting 217, 218 

Skirts to preserve the flare of 174 

Skirts, triple box-plaited 223 

Skirts with a side or inverted box-plait let in at the seams 188 

Skirts with box-plaits set in at the seams 220 

Skirts with more than three tucks or plaits between the plain 

gores 187 

Skirts with plaits on the gores knee depth or below 188 

Skirts with plaits or tucks turning toward the back 173 

Skirts with plaits or tucks turning toward the front 173 

Skirts with three tucks or plaits between the plain gores .... 185, 186 

Skirts with two tucks or plaits between the plain gores 185, 186 

Slashes for the arms in an evening cape 268 

Sleeve, altering where the under part is cut too low or short- ■-. Ill 

Sleeve, basting of 66 

Sleeve, Bishop, description 58, 60 

Sleeve, Bishop (Fig. 10) 59 

Sleeve, cutting pattern 55, 56 

Sleeve draft, foundation 54, 55 

Sleeve, elbow 60 

Sleeve, fitting lining of 70 

Sleeve, inside measure 54 

Sleeve, leg o'mutton 58 

Sleeve, length from shoulder to elbow 53 

Sleeve, length of 53 

Sleeve lining, di afting of 54, 55 

Sleeve lining of a tailor-made coat 250 

Sleeve lining showing fullness at elbow (Fig. 13) 66 

Sleeve measure blank 64 

Sleeve, measurements 53, 54 

Sleeve, mousquetaire 60 

Sleeve, one-piece shirt-waist (Fig. 8) 57 

Sleeve, opening for Bishop (Fig. 44) 126 

Sleeve, opening for shirt-waist (Fig. 40) 120 

Sleeve opening for sleeve with lapped cuff (Fig. 46) 127 

Sleeve, plain coat • 54, 55 

Sleeve, shirt-waist 55, 56 

Sleeve, shirt-waist, basting and putting in 120, 121 

Sleeve, shirt-waist, opening of 120 

Sleeve, shirt-waist, putting on cuff 120 

Sleeves of a dressing sack 284 

Sleeves of a tailor-made coat 248, 250 

Sleeves of a wrapper 283 

Sleeve, tracing and cutting 55, 56 

437 



PAGE 

Sleeve, two-seam blouse waist 55, 56 

Sleeve, two seam coat 55, 56 

Sleeve, two-seam close-fitting 56 

Sleeve, two-seam jacket '. 55, 56 

Sleeve, two-seam shirt-waist 58 

Sleeve with cuff attached (Fig. 45) 126 

Sleeve with inside seam, also, seam from elbow to wrist (Fig. 11). 61 

Sleeve with lapped cuff (Fig. 46) 127 

Sleeve with vmder part too short (Fig. 17) Ill 

Slip, draft of infants' (Figs. 115, 116 and 117) 289 

Slip, front of infants' (complete) (Fig. 118.) 290 

Slip-stitched skirt hem 156 

Slip-stitching widths of material together 285 

Sloping shoulders, altering for, description 110, 111 

Sloping shoulders, altering for (Figs. 15 and 16) 110 

Slot seam, double stitched 232 

Slot seam single stitched 232 

Small bust, altering for, description 109 

Small bust, altering for (Fig. 12) 109 

Sour fruit, for removal of 378 

Sour wine, for removal of 378 

Spanish flounce 336 

Springing the bone in boning (Fig. 3) 93 

Square, face of 18 

Square, reverse side of 18, 19 

Square shoulders, altering for, description 110, 111 

Square shoulders, altering for (Figs. 13 and 14) 110 

Square, the 18 

Square, the face of (Illustration) 18 

Square, the reverse of (Illustration) 18 

Square, the use of 19, 20 

Square yokes in little girls' dresses 301 

Stain and spots, for removal of "ill , 379 

Stains from broadcloth, to remove 382 

Stiffening in bottom of skirt 156, 157 

Stitch, padding (Fig. 94) 245 

Stitches n 

Stitches, back 78 

Stitches, basting 78 

Stitches, overcasting 78 

Stitches, overhanding 79 

Stitches, running 78 

Stitching a bias and straight edge, how to place on machine 389 

Stitching and cutting pocket opening in boys' pants (Fig. 135)... 306 

Stitching and finishing seams as a trimming 229 

Sttiching and finishing seams in an unlined coat 254 

Stitching and pressing seams in an evening cape 266 

.Stitching, brier 80' 

438 



PAGE 

Stitching, cat • 79, 80 

Stitching, feather 80 

Sttching, on bottom of skirt (Fig. 55) 159 

Stitching plush 90 

Stitching pockets 258 

Stitching seams as a trimming 229 

Stitching sleeves in the princess 280 

Stitching standing part of a rolled turn-over collar 246 

Stitching the skirt seams 152 

Stitching velvet 90 

Stitching very thin goods on the machine 389 

Stitching waist lining and finishing the seams 71 

Stock collar, cutting from draft 121 

Stock collar, drafting 121 

Stout woman, how she should dress 337 

Straight band hemmed to opening in Bishop Sleeve (Fig. 44) .... 126 

Strap seam, description 232, 234 

Strap seam (Fig. 86) 233 

Strap seam, imitation 233 

Strap, making for seam (Fig. 164) 351 

St'raps, making and applying 351 

Striped material, cutting skirt gores from 228 

Striped material, to lay skirt pattern on (Fig. 17^ 230 

Study of styles • 348, 350 

Stuffing a tailor's cushion 260 

Style, comparison of present with past (Illustrations) 343, 349 

Styles, comparison of 342, 349 

Styles, origin of 342, 345 

Style, the study of 348, 350 

Summer dresses, how to allow for shrinkage 293 

Summer dresses, illustrations of 361, 362 

Supporting inlaid plaits in a skirt 188 

Surplice dress, little girls' (Fig. 127) 300 

Surplice, effect in little girl's dresses 299, 300 

Surplice waist for maternity wear 204 

Tailored belt 272, 273 

Tailored buttonhole (Fig. 31 and 32) 83, 84 

Tailor-made suits 235 

Tailor's cushion, draft of (Fig. 107) • 259 

Tailor's cushion, use of 210 

Tailor's tacks or mark stitching 359,360 

Taking back measure for person hollow between the shoulder 

blades 46, 47 

Taking little boy's measures for knee trousers 303 

Taking little girl's measures 292 

Taking measurements of a round-shouldered person • ■ • • 46 

Taking measures of the waist 17 

Taking skirt measurements, rule for 133 

439 



PAGK 

Tall woman, how she should dress 336, 2)Z7 

Tannin from chestnuts, for removal of 378 

Tannin from green walnuts, for removal of • 378 

Tannin from leather, for removal of 378 

Tape, three cord 95 

Tape used in holding plaits of skirt in place 188 

Taping edges of an evening coat 262 

Taping front edges of a Russian blouse coat 275 

Taping the lapels of a coat 247 

Taping the top edge of the flounce in a semi-fitting princess 282 

Ten-gore skirt, drafting 195 

Testing hip line in skirt draft 136, 137 

Testing little girls' measures 293 

Testing measurements of waist Z9, 40 

Testing measurements in a princess draft 278 

Testing waist line in skirt draft 139 

Thirteen-gore skirt, drafting 193 

Three cord tape 95 

Three-piece circular skirt 208' 

Three-piece circular skirt, draft of top (Fig. 63) 208 

Tight-fitting corset cover 324 

Tight-fitting princess 276, 282 

Tight-fitting princess, draft of (Fig. 113) 277 

Tight-fitting waists, plain 88 

To clean articles made of white zephyr 384 

To clean black cashmere 2>77 

To clean furs 379 

To clean gloves 381 

To clean ostrich feathers 381 

To clean plush 381 

To clean ribbons 383 

To clean swans' down 379 

To color lace to match a gown by the use of dye 386 

To color lace to match a gown by using tube paints and gasoline. 387 

To cover button moulds 85 

To determine the quality of silk 380 

To dye furs 383 

To finish seams in flannel 80 

To fit irregular or disproportionate figures 105, 106 

To freshen black lace 383 

To keep goods from fraying 388 

To make a knot 77 

To make old cashmere look new 372 

To prepare a bust form for one's own use 76 

To prevent buttons from tearing out 389 

To prevent colors from*f ading 236, 237 

To prevent selvage seams from drawing 390 

Top of skirt, drafting 135, 141 

440 



PAGE 

To protect work table 385, 386 

To remove coffee 384 

To remove grease ■ 332 

To remove marks of stitching in silk 386 

To remove rust from linen 376 

To remove stains from broadcloth 382 

To renovate black cloth 381 

To restore color 382 

To restore color destroyed by acids 2i72> 

To restore color to faded ribbons Z7Z 

To restore finish to old goods ■ 372 

To restore the pile to velvet 382 

To save tying threads 385 

To set colors 383 

To take mildew from clothes 375 

To tell the right side of wool serge 387 

Touch of black in finishing • 342 

To wash the curl feathers 379 

To wash an embroidered cambric handkerchief Z77 

To wash colored cottons 375 

To whiten linen 376 

Tracing the rolled turn-over collar and lapel 242 

Trimming, fur, applying 358 

Tracing the different sections of a tailor-made coat 242 

Tracing and cutting a French lining 51 

Tracing and cutting the sleeve 55, 56 

Tracing the different sections of a princess draft 279 

Tracing the waist lining 40, 42 

Trimming, shirred 354 

Trimming, stitching and finishing seams as a 229 

Trimmings suitable for an evening coat 261 

Trimmings suitable for an evening cape 265 

Trimming straps used in holding plaits in skirts in place 188 

Trimming, shirred, mode of applying 356 

Triple box-plaited skirt ■ 223 

Tucked seam 231, 232 

Tucked shirring, allowance for on skirt gores 189 

Tucked shirring 354 

Tucked sleeve, foundation for (Figs. 8 and 9) 57 

Tucks at bottom of skirt 211, 212 

Tucks in back of waist (Fig. 35) 118 

Tucks in front of waist (Fig. 34) 117 

Tucks in little girls' dresses ■ 293 

Tucks in shirt waists, marking for (Fig. 33) 116 

Tucks, nun 213 

Tucks or plaits between the plain gores of a skirt 185 

Tucks, preparing nun (Fig. 69) 213 

Tucks turning toward the back in a skirt 182 

441 



PAGE 

Tucks turning toward the front in a skirt 182 

Tunic or overskirt • 213, 214 

Tunic or overskirt, arranging draft for pattern of (Fig. 70) 214 

Turning edges under of an evening cape 267, 268 

Turning edges under of an evening coat 263 

Twelve-gore skirt, drafting 195 

Twenty-one gore-skirt, drafting 193 

Twenty-three-gore skirt, drafting 193 

Two-piece circular skirt 207, 208 

Two-piece evening cape 265 

Two-seam close-fitting sleeve (Illustration) 56 

Two-seam coat-sleeve 56 

Two-seam jacket sleeve 56 

Two-seam shirt-waist sleeve (Illustration) 56 

Two-seam sleeve 56 

Tying threads, to save 385 

Umbrella drawers, draft for (Fig. 142) 318 

Umbrella drawers, drafting and making 317, 319 

Underarm measure 21 

Underskirts 322 

Underskirt yoke, draft of (Fig. 148) 322- 

Underskirts, yoke for 322, 323 

Underskirt yoke, method of applying (Fig. 147) 322 

Underwear, combining 328 

Underwear, for maternity wear 203 

Underwear, how to wash an infant's 369, 370 

Underwear, importance of having correct 317 

Underwear, muslin 317 

Uneven number of gores in skirt 193 

Unlined coat 253 

Use of a tailor's cushion 260 

Use of inverted plaits in little girls' dresses 297, 298 

Use of two darts in a princess 278 

Using a princess draft for cutting a wrapper 283 

Using a dart in little girls' drafts 292 

Using circular skirt draft for skirt portion of the Russian blouse 

coat 271 

Using four-gore skirt draft for skirt portion of the Russian blouse 

coat 208 

Using hooks and eyes on skirt placket 209 

Using patent fasteners on skirt placket 209 

Using tape to hold plaits of skirt in place 188 

Using trimming strap to hold plaits in place 184, 185 

Variances to general rule of skirt cutting 227, 228 

Varnish, removal of 378 

Vegetable colors, for removal of . . • 378 

Velvet, basting 90 

Velvet, care of 383, 384 

442 



PAGE 

Velvet, cleaning 373 

Velvet, pressing • 89 

Velvet, to restore the pile to 382 

Velveteen, applying to bottom of skirt 153, 154 

Velveteen, correct finish at bottom of skirt (Fig. 52) 153 

Velveteen finish on bottom of skirt (Fig. 51) 153 

Velveteen on lined or faced skirt (Fig. 53) 154 

Velvets, thread to use in basting ■ • • 90 

Vinegar, for removal of 378 

Waist, basting lining of . . . ■ 65, 66 

Waist, boning the IZ 

Waist, construction of shirt 113 

Waist drafting, iregularities in 46 

Waist draft with one dart in front, underarm portion and two 

back pieces, drafting 97, 102 

Waist draft with one dart in front, underarm portion and two back 

pieces (Fig. 5) 101 

Waist draft with two darts in front and two back pieces, draft- 
ing 102, 105 

Waist draft with two darts in front and two back pieces, drafting 

(Fig. 6) 103 

Waist, drafting back of 31, 36 

Waist, drafting front of 22, 25 

Waist, draping of 85, 86 

Waist, draping on lining 87 

Waist, facing the bottom of 75 

Waist, facing the bottom of (Fig. 15) 75 

Waist, fitting lining of ■ 65, 66 

Waist, fitting shirt 115,117 

Waist, for maternity wear 203, 204 

Waist, frills as padding at armhole (Fig. 14) IZ 

Waist, front fullness gathered in a band (Fig. 38) 119 

Waist, gathers at back of (Fig. ZT) 119 

Waist, Gibson, making pattern for and cutting 128, 131 

Waist, Gibson, showing how to allow for plait (Fig. 48) 130 

Waist, Gibson — with no fullness at waist line in back (Fig. 47).. . 129 

Waist line of skirt, constructing 137, 138 

Waist line of skirt, testing 139 

Waist, line, French 49, 51 

Waist lining, stitching and furnishing the seams of 71 

Waist, markings for tucks (Fig. 33) 116 

Waist measure • , 20 

Waist measurements 20, 21 

Waist, padding of 74 

Waist, second fitting of • 73, 74 

Waist, shirt • 113 

Waist, simulated box-plait in front of (Fig. 49) 132 

Waist, surplice for maternity wear 204 

Waist, taking measurements of 17 



443 



PAGE 

Waist, tracing the 40 and 42 

Waist, tucks in back of (Fig. 35) 118 

Waist, tucks in front of (Fig. 34) 117 

Waists, cutting the different portions 42, 44 

Waists, evening 87 

Waists, plain tight-fitting 88 

Walking skirt, stitching at bottom of (Fig. 55) 159 

Walking skirts 158 

Walking skirts, finishing the bottom of 159 

Walking skirts, length of 159 

Wash and curl feathers, to ■ 379 

Washing colored cottons 375 

Washing flannels 367, 368 

Washing silk and Merino 376 

Wash skirt, placket for 211 

Wash skirt, pressing the plaits of 188 

Weighting coat 257 

Welt seam, description 231 

Welt seam (Fig. 81) 231 

What a blonde should wear 339, 340 

What a brunette should wear • 340 

When underarm measure is long compared with back measure, 

altering draft for 33, 34 

When underarm measure is short compared with back measure, 

altering draft for -. 33, 34 

Whiten linen, to 376 

Width of back measure 21 

Wine, for removal of 378 

Wine, for removal of sour 378 

Wool, how to darn a tear invisibly in 387, 388 

Wool serge, to tell the right side of 387 

Woolen material, basting of 90 

Work table, to protect 385, 386 

Working buttonholes in facings for boy's trousers 308 

Wrappers 283 

Yellow flannel, whitening 375 

Yellow linen, whitening • 377 

Yoke, circular 352, 353 

Yoke, draping in waist 85 

Yoke dress, little girls' (Figs. 128 and 129) 301 

Yoke, finishing off one in a waist 87 

Yoke for underskirts 322 

Yoke in dressing sack 284 

Yoke in wrapper 283 

Yoke, round • 301 

Yoke, square 301 

Yoke, underskirts, draft of (Fig. 148) 322 

Yoke, underskirt, method of applying (Fig. 147 ) 322 

Yoke, V-shaped .301 

Zephyr, to clean articles made of white 384 

444 



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•Box No R. F.D. No. 



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HAS MADE $150.00 

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MADE OVER FIFTY DOLLARS 

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FOR.M No. 118 

A\itomaLtic. Adj\jstable, 
Mscde in Flight Sections 

(Patented) 

This Form No. ii8 is the most rigid and 
durable form. It is made in 8 sections and 
has adjustments for the neck, bust, waist, 
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PRICE $12.00 





FORM No. 122 

This form, with the exception of the wire skirt 
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There is no other simple adjustable waist form 
which equals this one in <iuality and price. It opens 
into eight parts and allows adjustments at the neck, 
bust, waist and hips. It is of the same high stand- 
ard of workmanship and finish as the very best 
grade of forms. 

PRICE $7.50 



DRESS FOR.M CATALOG 

We have a special catalog featuring a large varie- 
ty of adjustable dress forms. A copy of this book 
will be sent free upon request. A good dress form 
is a necessary part of every dressmaker's equipment. 



liurj 



One copy del. to Cat. Div. 



JUH 2r IftIA 



LIBRARY OF CONGRESS 




